Old Norse influence on the language of Beowulf: a reassessment

This article undertakes the first systematic examination of Frank’s (1979, 1981, 1987, 1990, 2007b, 2008) claim that Old Norse influence is discernible in the language of Beowulf. It tests this hypothesis first by scrutinizing each of the alleged Nordicisms in Beowulf, then by discussing various theoretical considerations bearing on its plausibility. We demonstrate that the syntactic, morphological, lexical, and semantic peculiarities that Frank would explain as manifestations of Old Norse influence are more economically and holistically explained as consequences of archaic composition. We then demonstrate that advances in the study of Anglo-Scandinavian language contact provide strong reasons to doubt that Old Norse could have influenced Beowulf in the manner that Frank has proposed. We conclude that Beowulf is entirely devoid of Old Norse influence and that it was probably composed ca. 700, long before the onset of the Viking Age

Old Norse influence on the language of Beowulf: a reassessment

This article undertakes the first systematic examination of Frank’s (1979, 1981, 1987, 1990, 2007b, 2008) claim that Old Norse influence is discernible in the language of Beowulf. It tests this hypothesis first by scrutinizing each of the alleged Nordicisms in Beowulf, then by discussing various theoretical considerations bearing on its plausibility. We demonstrate that the syntactic, morphological, lexical, and semantic peculiarities that Frank would explain as manifestations of Old Norse influence are more economically and holistically explained as consequences of archaic composition. We then demonstrate that advances in the study of Anglo-Scandinavian language contact provide strong reasons to doubt that Old Norse could have influenced Beowulf in the manner that Frank has proposed. We conclude that Beowulf is entirely devoid of Old Norse influence and that it was probably composed ca. 700, long before the onset of the Viking Age

Teaching Artists’ Adaptability in Group-Based Music Education Residencies

Art and music-based activities have played an important role in social work with groups since the origin of the profession. These activities continue to be used, yet less in known about how they are facilitated and led. This International Association for Social Work with Groups SPARC endorsed and funded study responds to this gap in the literature by examining the development and implementation of group-based music education residencies. Classically trained teaching artists (TAs) from a Chicago-based music ensemble led and facilitated a series of residencies at one agency with a drop-in center and a transitional living program for emerging adults experiencing homelessness and other forms of housing instability. Qualitative methods, including observation and focus group interviews, were used to explore the development and implementation of the residencies. Findings suggest TAs’ adaptability, which is defined as flexibility, role adaptability, and capacity to meet residency participants where they were, played an important and integral role in the residencies. This study adds to the existing literature on music-based activities in social work with groups and extends our understanding of how these activities are facilitated and led