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A ‘processual-plus’ corrective to the origins of Anglo-Saxon England

The Lady of Shalott in Tennyson’s eponymous poem could only see life beyond her castle in its reflections in her mirror; the tapestries she wove of those mirrored scenes were third-hand interpretations of that second-hand experience. The analogy is a reminder that, like the Lady of Shalott, we construct explanatory models from fragmentary, more or less opaque evidence refracted through the complexities of time, place, and process (S. Oosthuizen1).