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Stevenson Memorial Tournament 2018 Edited by Jordan
Stevenson Memorial Tournament 2018 Edited by Jordan Brownstein, Ewan MacAulay, Kai Smith, and Anderson Wang Written by Olivia Lamberti, Young Fenimore Lee, Govind Prabhakar, JinAh Kim, Deepak Moparthi, Arjun Nageswaran, Ashwin Ramaswami, Charles Hang, Jacob O’Rourke, Ali Saeed, Melanie Wang, and Shamsheer Rana With many thanks to Brad Fischer, Ophir Lifshitz, Eric Mukherjee, and various playtesters Packet 2 Tossups: 1. An algorithm devised by this person uses Need, Allocated, and Available arrays to keep the system in a safe state when allocating resources. This scientist, Hoare, and Dahl authored the book Structured Programming, which promotes a paradigm that this man also discussed in a handwritten manuscript that popularized the phrase “considered harmful.” Like Prim’s algorithm, an algorithm by this person can achieve the optimal runtime of big-O of E plus V-log-V using a (*) Fibonacci heap. This man expanded on Dekker’s algorithm to propose a solution to the mutual exclusion problem using semaphores. The A-star algorithm uses heuristics to improve on an algorithm named for this person, which can fail with negative-weight edges. For 10 points, what computer scientist’s namesake algorithm is used to find the shortest path in a graph? ANSWER: Edsger Wybe Dijkstra [“DIKE-struh”] <DM Computer Science> 2. A design from this city consists of a window with a main panel and two narrow double-hung windows on both sides. The DeWitt-Chestnut Building in this city introduced the framed tube structure created by an architect best known for working in this city. Though not in Connecticut, a pair of apartment buildings in this city have façades with grids of steel and glass curtain walls and are called the “Glass House” buildings. -
De Oud-Germaanse Religie (§§ 570 - 598) (De Vries) 1
Dit document vormt een onderdeel van de website https://www.religies-overzichtelijk.nl Hier vindt u tevens de koppelingen naar de andere teksten en de indexen, de toelichtingen en de afkortingen Laatste bewerking: 26-09-2020 [l] De Oud-Germaanse religie (§§ 570 - 598) (De Vries) 1 1 De schepping van de wereld en de mensen volgens de Germaanse overlevering .............. 4 1.1 (§ 570-6) Inleiding tot de schepping van de wereld en de mensen volgens de Germaanse overlevering .......................................................................................................... 5 1.2 De scheppingsmythen ..................................................................................... 6 1.2.1 De mythe van Ýmir (SnE) ........................................................................... 7 1.2.1.1 (§ 570-1) Episode 1: de toestand vóór de schepping en het onstaan van Ýmir ........ 8 1.2.1.2 (§ 570-2) Episode 2: Auðumla en de schepping der goden ................................ 9 1.2.1.3 (§ 570-3) Episode 3: de slachting van Ýmir en de schepping van de wereld ......... 10 1.2.2 (§ 570-4) De mythe van de schepping van Askr en Embla (SnE) ........................... 11 1.2.3 (§ 570-5) De mythe van Odins vestiging in Ásgarðr (SnE) ................................... 12 1.3 De toestand vóór de schepping ....................................................................... 13 1.3.1 (§ 571-1) De toestand vóór de schepping in de literatuur .................................. 14 1.3.2 (§ 571-2) Verklaring van de overlevering t.a.v. de toestand vóór de schepping ....... 15 1.4 (§ 572) Het ontstaan van leven uit de polariteit van hitte en koude ........................... 16 1.5 (§ 573) De schepping van reuzen, goden en mensen uit een tweegeslachtelijk oerwezen 17 1.6 (§ 574) De voorstelling van de melk schenkende oerkoe ......................................... 18 1.7 (§ 575) De schepping van de wereld uit het lichaam van Ýmir ................................. -
Gram (Mythology)
Gram (mythology) Gram (mythology)'s wiki: In Norse mythology, Gram ( Old Norse Gramr , meaning Wrath) is the sword that Sigurd used to kill the dragon Fafnir. [2] It is primarily used by the Volsungs in the Volsunga Saga . However, it is also seen in other legends Description. Nowhere in the Volsunga Saga is a clear description of Gram given, but there is enough scattered throughout the story to draw a picture of the sword. Sigurd's weapons, Gram included, are described as being âœall decked with gold and gleaming bright." Gram (disambiguation) â” Gram is a unit of measurement of mass. Otherwise, gram may refer to: gram, the Greek based suffix meaning drawing or representation. Contents 1 Places 2 People ⦠Wikipedia. Norse mythology in popular culture â” The Norse mythology, preserved in such ancient Icelandic texts as the Poetic Edda, the Prose Edda, and other lays and sagas, was little known outside Scandinavia until the 19th century. With the widespread publication of Norse myths and legends⦠⦠Wikipedia. Gram (mythology). Quite the same Wikipedia. Just better. In Norse mythology, Gram, (Old Norse Gramr, meaning Wrath)[1] is the sword that Sigurd used to kill the dragon Fafnir.[2]. Description. Gram was forged by Volund; Sigmund received it in the hall of the Völsung after pulling it out of the tree Barnstokkr where Odin placed it. The sword was destroyed in battle when Sigmund struck the spear of an enemy dressed in a black hooded cloak. In Norse mythology, Gram [1] is the sword that Sigurd used to kill the dragon Fafnir.[2] It is primarily used by the Volsungs in the Volsunga Saga. -
An Encapsulation of Óðinn: Religious Belief and Ritual Practice Among The
An Encapsulation of Óðinn: Religious belief and ritual practice among the Viking Age elite with particular focus upon the practice of ritual hanging 500 -1050 AD A thesis presented in 2015 for the degree of Doctor of Philosophy in Scandinavian Studies at the University of Aberdeen by Douglas Robert Dutton M.A in History, University of Aberdeen MLitt in Scandinavian Studies, University of Aberdeen Centre for Scandinavian Studies The University of Aberdeen Summary The cult surrounding the complex and core Old Norse deity Óðinn encompasses a barely known group who are further disappearing into the folds of time. This thesis seeks to shed light upon and attempt to understand a motif that appears to be well recognised as central to the worship of this deity but one rarely examined in any depth: the motivations for, the act of and the resulting image surrounding the act of human sacrifice or more specifically, hanging and the hanged body. The cult of Óðinn and its more violent aspects has, with sufficient cause, been a topic carefully set aside for many years after the Second World War. Yet with the ever present march of time, we appear to have reached a point where it has become possible to discuss such topics in the light of modernity. To do so, I adhere largely to a literary studies model, focussing primarily upon eddic and skaldic poetry and the consistent underlying motifs expressed in conjunction with descriptions of this seemingly ritualistic act. To these, I add the study of legal and historical texts, linguistics and contemporary chronicles. -
Trees As a Central Theme in Norse Mythology and Culture an Archaeological Perspective
Trees as a Central Theme in Norse Mythology and Culture An Archaeological Perspective AMANDA GILMORE ABSTRACT: This article, the inaugural winner of the journal’s Gurli Aagaard Woods Undergraduate Publication Award, combines the analysis of ancient literature with an archaeological approach in an effort to further interpret the presence and significance of trees in medieval Scandinavian culture. The analysis of textual references to trees such as Yggdrasill and Barnstokkr found in the Norse works Völuspá, Grímnismál, Gylfaginning, and Völsunga Saga, are combined with academic articles, juxtaposed with the examination of archaeological sites at Fröso, Herresta, Bjarsgård, Österfärnebo, and Karmøy, and integrated with modern Scandinavian attitudes to explore an interest in tree-human relationships, literature, and archaeology in medieval Scandinavia. RÉSUMÉ : Cet article, premier lauréat du prix de la revue Gurli Aagaard Woods de publication pour étudiant de premier cycle, combine l’analyse d’une littérature ancienne avec une approche archéologique, dans un effort pour interpréter davantage la présence et l’importance des arbres dans la culture scandinave médiévale. Les analyses des références textuelles à des arbres tels que Yggdrasill et Barnstokkr trouvées dans les travaux Norse Völuspá, Grímnismál, Gylfaginning et la saga Völsunga, sont combinées à des articles académiques, juxtaposées à l’examen de sites archéologiques à Frösö, Herresta, Bjarsgård, Österfärnebo et Karmøy, et intégrées à des attitudes scandinaves modernes afin d’explorer un intérêt envers les relations arbre-humain, la littérature et l’archéologie en Scandinavie médiévale. Amanda Gilmore is an undergraduate student in the Department of Anthropology at the University of Manitoba. SCANDINAVIAN-CANADIAN STUDIES VOLUME 23 ÉTUDES SCANDINAVES AU CANADA 2016 Introduction he continual theme of trees in Norse Mythology is important to our understanding of the cosmology of Norse Mythology. -
Grímnismál: Acriticaledition
GRÍMNISMÁL: A CRITICAL EDITION Vittorio Mattioli A Thesis Submitted for the Degree of PhD at the University of St Andrews 2017 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/12219 This item is protected by original copyright This item is licensed under a Creative Commons Licence Grímnismál: A Critical Edition Vittorio Mattioli This thesis is submitted in partial fulfilment for the degree of PhD at the University of St Andrews 12.11.2017 i 1. Candidate’s declarations: I Vittorio Mattioli, hereby certify that this thesis, which is approximately 72500 words in length, has been written by me, and that it is the record of work carried out by me, or principally by myself in collaboration with others as acknowledged, and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September, 2014 and as a candidate for the degree of Ph.D. in September, 2014; the higher study for which this is a record was carried out in the University of St Andrews between 2014 and 2017. Date signature of candidate 2. Supervisor’s declaration: I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Ph.D. in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date signature of supervisors 3. -
Matveeva, Elizaveta (2016) Reconsidering the Tradition: the Odinic Hero As Saga Protagonist. Phd Thesis, University of Nottingha
RECONSIDERING THE TRADITION: THE ODINIC HERO AS SAGA PROTAGONIST Elizaveta Matveeva, MA Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy OCTOBER 2015 1 AСKNOWLEDGEMENTS A number of people greatly supported me throughout the years of my work on this dissertation. First and foremost, I would never have been able to make it this far without the love and support of my husband Mikhail, who had always given me not only comfort and encouragement, but also constructive criticism and hours of proofreading. My warmest gratitude goes to my supervisors Prof Judith Jesch and Dr Paul Cavill who made this research possible by being unbelievably helpful, patient and generous with their time. It is Judith who introduced me to Medieval Studies as an academic field and guided and supported me ever since, helping me to get my direction but always encouraging independent choice. Throughout my first year at the University of Nottingham, both Judith and Dr Christina Lee allowed me to participate in their seminars for postgraduate students, helping my transition to the field of Old Norse studies and giving me some of the best academic classes I have ever had. My obligation to individual lecturers and colleagues extends to the University of Nottingham as an institution that funded my study and conference trips with Vice- Chancellor's Scholarship for Research Excellence, Christine Fell Award and Graduate School Travel Prize. I have also received support from the Viking Society for Northern Research and AHRC that allowed my participation in the Orkney Viking Heritage Project. Finally, Fund Soros’s Global Supplementary Grant Program covered my living expenses for two years, allowing me to focus on my research. -
Beowulf DWARD the Waning Sword Conversion Imagery and EDWARD PETTIT P
The Waning Sword E Conversion Imagery and Celestial Myth in Beowulf DWARD The Waning Sword Conversion Imagery and EDWARD PETTIT P The image of a giant sword mel� ng stands at the structural and thema� c heart of the Old ETTIT Celestial Myth in Beowulf English heroic poem Beowulf. This me� culously researched book inves� gates the nature and signifi cance of this golden-hilted weapon and its likely rela� ves within Beowulf and beyond, drawing on the fi elds of Old English and Old Norse language and literature, liturgy, archaeology, astronomy, folklore and compara� ve mythology. In Part I, Pe� t explores the complex of connota� ons surrounding this image (from icicles to candles and crosses) by examining a range of medieval sources, and argues that the giant sword may func� on as a visual mo� f in which pre-Chris� an Germanic concepts and prominent Chris� an symbols coalesce. In Part II, Pe� t inves� gates the broader Germanic background to this image, especially in rela� on to the god Ing/Yngvi-Freyr, and explores the capacity of myths to recur and endure across � me. Drawing on an eclec� c range of narra� ve and linguis� c evidence from Northern European texts, and on archaeological discoveries, Pe� t suggests that the T image of the giant sword, and the characters and events associated with it, may refl ect HE an elemental struggle between the sun and the moon, ar� culated through an underlying W myth about the the� and repossession of sunlight. ANING The Waning Sword: Conversion Imagery and Celesti al Myth in Beowulf is a welcome contribu� on to the overlapping fi elds of Beowulf-scholarship, Old Norse-Icelandic literature and Germanic philology. -
Vǫlsungsrímur
Háskóli Íslands Hugvísindasvið Viking and Medieval Norse Studies Vǫlsungsrímur A New English Translation with Commentary and Analysis Ritgerð til MA-prófs í Viking and Medieval Norse Studies Hannah R.F. Hethmon Kt.: 230391-3519 Leiðbeinandi: Torfi Tulinus May 2015 Abstract( ! ! Vǫlsungsrímur!are!a!late!14th!century!cycle!of!rímur!based!on!Vǫlsunga,saga,! the!Prologue!and!Gylfaginning!of!Snorra,Edda,!and!Ynglinga,saga.!This!rímnaflokkur! contains!279!stanzas!in!six!fitts.!It!is!believed!to!have!been!written!by!Kálfr!Hallsson,! or!Kálfr!Skáld,!an!otherwise!unknown!poet!who!also!wrote!the!hagiographic!skaldic! poem!Kátrinardrápa.!The!poet!of!Vǫlsungsrímur!uses!the!first!eight!chapters!of! Vǫlsunga,saga,for!his!main!narrative!framework,!prefacing!this!narrative!material!in! the!first!fitt!with!a!clever!combination!of!elements!of!Snorri!Sturluson's!works! describing!the!ascent!of!the!gods!from!humans!into!deities!through!trickery.! ! ! Vǫlsungsrímur!were!edited!by!Finnur!Jónsson!around!the!turn!of!the!20th! century,!but!otherwise!little!scholarly!work!has!been!devoted!to!this!fascinating! poem.!For!this!dissertation,!I!have!translated!the!rímur,into!English!prose!verse!with! a!marginal!gloss!for!heiti!and!kennings.!Because!rímur,rely!so!much!on!the!character! of!the!Icelandic!language!to!satisfy!the!demands!of!metre,!alliteration,!and!rhyme,!it! is!difficult!to!translate!them!without!losing!entirely!the!character!of!the!original.! Therefore,!this!translation!is!designed!as!an!aid!to!reading!and!understanding!the! original,!not!a!standOalone!translation.!! -
Scientificamerican Lec02.Ppt (Read-Only)
GREAT HALLS AND MARKET TOWNS: HEROES AND MERCHANT PRINCES, 700-1100 Kenneth W. Harl, Tulane University Scientific American Cruise, July 5-15, 2013 MARTIAL ETHOS 400-700 A.D.AGE, 400-700 A.D. SWEDEN Uppsala Vendel, Royal Burials WEST GAUTAR (GEATS) DENMARK Hleidr (OE Heorot) Zealand (Sjaelland) LEGENDARY HALLS & HEROES, 500-750 Volsungasaga Great Hall of Barnstokkr Sigmund & Sigurd Great Hall of Burgundians Gunnar & Hogni Great Hall of Huns Atli (Attila the Hun) Beowulf Heorot Hrothgar (Hroar) Hall of Geats (Gautar) Beowulf Hrolfs Saga Kraka Hleidr (Lejre) Hrolf Kraki Bjarki & Hjalti Uppsala Adils Ragnarsdrapa Hall of Ragnar, Denmark Ragnar Lodbrok (Bragi Boddason) Ragbars saga Lothbrokar LEGEND OF VOLSUNGS Hunninge Runestone, Gotland, ca. 800 Brynhild greets Sigurd in Valhalla Gunnar in the snake pit of Atli Hamdir & Sorli attack Jormunrekk (Ermanaric) RAMSUND RUNESTONE, SWEDEN, ca 1030 Sigurd slays dragon Fafnir Sigurd takes gold of Niflungs HYLESTAD STAVE CHURCH, NORWAY ca. 1180-1225 Sigurd slays smith Regin Wooden Panels, Legend of Sigurd MODERN IMAGES OF RAGNAR LODBROK Ernest Borganine, Travis Fimmel, “The Vikings” (2013) Kirk Douglas & Tony Curtis “The Vikings” (1958) GREAT HALL, RECONSTRUCTION HLEIDR (HEOROT; modern Lejre) Great Halls, ca 550, 660 and 880 A.D. Reconstruction of Viking Age Hall 50 meters/164 feet x 10 meters/32.8 feet Longhouse, Frykat, Denmark, ca. 980 A.D. 28.5 meters/93.5 feet x 7.5 meters/24.6 feet STAVE CHURCH, BORGUND, NORWAY, Saint Andreas, 1180-1250 ASGARD: Valhalla, “Hall of Shields and 540 Doors” Odin seated on Hlidskjaft, 900-950 A.D, Lejre Excavations BRONZE FIGURINES VIKING AGE Odin, Frey Thor Odin Yggsdrasil (World Tree) Barnstokkr, Hall of Sigmund Johannes Gehrts (1889) Icelandic MS TEXTILE FRAGMENT, OSEBERG SHIP BURIAL, ca. -
Marie Žúborová - Němcová: Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Niagarské vodopády - pozri USA, Kanada https://sk.wikipedia.org/wiki/Niagarsk%C3%A9_vodop%C3%A1dy S. Leclerc: Eliáš v ohnivom voze nad Niagarským vodopádom (lept, 1660-1710) Niaux/njo - jaskyňa v Pyrenejach u Tasconu-en Foiix z obdobia magdalenienu; nálezisko jaskynných malieb frankokantaberského štýlu (pozri paleolitické jaskynné maľby), rytiny a maľby zvierat (bizóny, kone, jelene, ryby), prevedené čiernou obrysovou čiarou so šrafovaním naznačujúcim plastickosť; pozri mladopaleolitické umenie https://en.wikipedia.org/wiki/Cave_of_Niaux Heslo Niagarské vodopády – NIKO Strana 1 z 29 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Mladý bizón (jaskyňa Niaux, 13850 -12980 pr.Kr.) Mime - vo Wagnerovom Prsteni Niebelungov brat kráľa škriatkov Albericha, pre ktorého vyrobil zo zlata Rýna čarovný prsteň; ním Alberich plánoval zotročiť Niebelungov i celý svet; Nibelheim - z Nibelung (plemeno škriatkov) a heim (domov); vo Wagnerovej hudobnej dráme „Prsteň Niebelungov“ domov škriatkov Niebelungov (v germánskej a škandinávskej mytológii Nibelheim sa nachádzal v Niflheimu); ich kráľ Abelrich používa čarovný prsteň, ktorý vyrobil Alberichov brat Mime zo Zlata Rýna (Rhinegold), ukradnutého Rýnskym pannám (Rhinemaidens); Abelrich používal prsteň na zotročenie svojich poddaných a plánoval ovládnuť svet; pomocník hlavného boha Wotana, poloboh ohňa Loge, priviedol Wotana do Nibelheimu, aby donútili Albericha prsteň a jeho zlatý poklad vydať; museli ním mohli ním vyplatiť obrov Fafnera a Fasolta, aby si nežiadali ako odmenu bohyňu Freyu, ktorú im sľúbil Wotan, keď mu postavia hrad Valhalu; pozri Prsteň Niebelungov (opera) https://en.wikipedia.org/wiki/Nibelheim http://walkurepedia.wikia.com/wiki/Nibelheim Nibelung - tiež nem. Nibelungen; v starej nórčine Niflung (mn. č. Niflungar); v germánskej a škandinávskej mytológii staroveké plemeno škriatkov, vládcov a strážcov starodávnych pokladov v krajinách pozdĺž rieky Rýn; podľa legendy burgundská kráľovská rodina, ktorá sa usadila na zač. -
The Wholeness of Maturity: Sigurd the Volsung
CHAPTER III THE WHOLENESS OF MATURITY: SIGURD THE VOLSUNG Between 1872 when he finished Love Is Enough and October 1875, when he began writing Sigurd the Volsung, "but for a few lyrics, original or adapted from Icelandic and Danish ballads, his writing was confined to translation until he began his great epic."121 The poem was published in November 1876, with the imprint of 1877.122 These were years of dramatic and apparently sudden broadening of Morris's outlook. On October 24th, 1876, he took the unexpected step of protesting against the threatened war with Russia over the Near East, by means of a letter to the Daily News, in which he expressed his horror at the possibility of England going to war for a cause which bore no relation to the real interests of the nation.123 This was the first public step which Morris took in the politi cal course which eventually led to his acceptance of the theory and practice of Marxism. The thoughts and feelings which led him to this startling depart ure were already at work in his mind while he was composing Sigurd the Volsung. The most remarkable aspect of Morris's entry into politics is that from the beginning, though he regarded himself for the moment as a liberal — the Liberal Party for a short period taking the lead in anti-war agitation — Morris understood the important role to be played by the proletariat. On Morris's first letter ^o the papers we may quote Thompson, who has made a detailed study of this period: "For the first public utterance of a poet and artist, there is a quite surprising understanding of the power of popular organi zation.