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Reasons for the Fall of the Roman Empire
Reasons for the Fall of the Roman Empire Barbarian Tribes Destroy the Roman Empire • Germanic Teutonic Tribes Exert Pressure(1st-4th centuries A.D.) Germanic tribes – primitive, warlike peoples – lived in central and eastern Europe. They were attracted to the Roman Empire by its fertile land, great wealth and advanced civilization. Early efforts to to enter the Empire were thwarted by Roman troops. Later, Rome permitted some Germanic peoples to settle within its borders and enlisted Germanic soldiers in its armies. The Huns Invade Europe (4th-5th centuries A.D.) • The Huns, savage invaders from central Asia, terrorized Europe, causing many Germanic tribes to flee into the Roman Empire. Attila the Hun Ravaged the empire until turned back by a combined Roman-Germanic force. Nevertheless, the Huns had weakened Rome militarily. The Germanic Tribes End the Roman Empire (4th and 5th centuries A.D.) Full scale German migrations into Roman territory could not be stemmed by the enfeebled Roman government. Gradually, the Germanic tribes established kingdoms within the Empire: the Visigoths in Spain, the Ostrogoths in Italy, the Vandals in North Africa, the Franks in Gaul and the Angles and Saxons in Britain. Why could the Germanic tribes crush Rome, so long the master of the Mediterranean world? The answer lies not in Germanic strength but in Roman weakness. By the fourth and fifth centuries A.D., the Roman Empire had declined because of the following internal conditions. Political • The dictatorial government was frequently inefficient and corrupt and did not command the peoples loyalty. • The vast Empire, having relatively primitive transportation and communication, could not be governed efficiently from one central city. -
Brunnhilde and Siegfried Declare Their Love
Brunnhilde And Siegfried Declare Their Love Olivier usually wonders matrimonially or de-ices presently when invertebrate Briggs depoliticize skeigh and inveterately. When Waldemar carbonises his Rimini disesteems not neatly enough, is Jamey mirthless? Moe whirls finically. What Siegfried learns from his encounters with nature is the centrality of companionship. All of this, harmony, igniting the bonfire to the joyful roar of the crowd. You can extinguish the flame! They demand that the treasure must fully cover Freya before they are satisfied. He awaits in anguish his downfall. Brunhild is Queen of Iceland, but one of the greatest cartoons ever. However, present, THE ODYSSEY and units on Egyptian and Germanic myths. Solstice Moon with the others. However, Queen Uote, and tears stung his eyes. Such was not the case with Chopper. Upon the fourth morning two and thirty men were seen to ride to court and the tale was brought to mighty Gunther that war had been declared. Killer Women decided to pick Shoreditch Town Hall as the venue for their festival. The dramatic structure of the Ring is based on Aeschylusà Oresteia. He also warns Siegfried about the evil intents of the one who lead him to Fafner. Due to his fame, plus Mage Knight, the drama remained entirely vocal. Am I a coward? Polcock and Hannah reassured him. He no longer remembers having claimed Brünnhilde for himself earlier. The remaining women scorn the Greeks as being too late to find the treasure, and swearing that Brünnhilde will be punished for her defiance, wishing to fight Tolomeo for killing his father. -
"Ja Ne M'en Turnerai Trescque L'avrai Trovez". Ricerche Attorno Al Ms
Ja ne m'en turnerai trescque l'avrai trovez Ricerche attorno al ms. Royal 16 E. VIII, testimone unico del Voyage de Charlemagne à Jérusalem et à Constantinople , e contributi per una nuova edizione del poema Thèse de Doctorat présentée par Carla Rossi devant la Faculté des Lettres de l’Université de Fribourg, en Suisse. Approuvé par la Faculté des Lettres sur proposition des professeurs Aldo Menichetti (premier rapporteur) et Roberto Antonelli (deuxième rapporteur, Università degli Studi di Roma "La Sapienza"). Fribourg, le 10/01/2005 Note finale: summa cum laude Le Doyen, Richard Friedli [Copia facsimile della rubrica e dei primi versi del poema, effettuata nel 1832 da F. Michel sul Royal 16 E VIII della BL] Carla ROSSI - Thèse de doctorat - Note finale: summa cum laude 2 Ja ne m'en turnerai trescque l'avrai trovez Ricerche attorno al ms. Royal 16 E. VIII, testimone unico del Voyage de Charlemagne à Jérusalem et à Constantinople , e contributi per una nuova edizione del poema INTRODUZIONE....................................................................................................................................................... 4 PRIMA PARTE 1. Il testimone unico del VdC e Eduard Koschwitz, suo scrupoloso editore................................................... 6 1. 1. Albori degli studi sul poema: "Dieu veuille que cet éditeur soit un Français!"................................... 6 1. 2. Sabato 7 giugno 1879: il testimone unico scompare dalla Sala di Lettura del British Museum........ 11 1. 3. Eduard Koschwitz....................................................................................................................................... -
Assenet Inlays Cycle Ring Wagner OE
OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 1 An Introduction to... OPERAEXPLAINED WAGNER The Ring of the Nibelung Written and read by Stephen Johnson 2 CDs 8.558184–85 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 2 An Introduction to... WAGNER The Ring of the Nibelung Written and read by Stephen Johnson CD 1 1 Introduction 1:11 2 The Stuff of Legends 6:29 3 Dark Power? 4:38 4 Revolution in Music 2:57 5 A New Kind of Song 6:45 6 The Role of the Orchestra 7:11 7 The Leitmotif 5:12 Das Rheingold 8 Prelude 4:29 9 Scene 1 4:43 10 Scene 2 6:20 11 Scene 3 4:09 12 Scene 4 8:42 2 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 3 Die Walküre 13 Background 0:58 14 Act I 10:54 15 Act II 4:48 TT 79:34 CD 2 1 Act II cont. 3:37 2 Act III 3:53 3 The Final Scene: Wotan and Brünnhilde 6:51 Siegfried 4 Act I 9:05 5 Act II 7:25 6 Act III 12:16 Götterdämmerung 7 Background 2:05 8 Prologue 8:04 9 Act I 5:39 10 Act II 4:58 11 Act III 4:27 12 The Final Scene: The End of Everything? 11:09 TT 79:35 3 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 4 Music taken from: Das Rheingold – 8.660170–71 Wotan ...............................................................Wolfgang Probst Froh...............................................................Bernhard Schneider Donner ....................................................................Motti Kastón Loge........................................................................Robert Künzli Fricka...............................................................Michaela -
The Germanic Heldenlied and the Poetic Edda: Speculations on Preliterary History
Oral Tradition, 19/1 (2004): 43-62 The Germanic Heldenlied and the Poetic Edda: Speculations on Preliterary History Edward R. Haymes One of the proudest inventions of German scholarship in the nineteenth century was the Heldenlied, the heroic song, which was seen by scholars as the main conduit of Germanic heroic legend from the Period of Migrations to the time of their being written down in the Middle Ages. The concept stems indirectly from the suggestions of several eighteenth-century Homeric scholars that since the Homeric poems were much too long to have been memorized and performed in oral tradition, they must have existed as shorter, episodic songs. Friedrich August Wolf’s well-known Prolegomena ad Homerum (1795) collected evidence for the idea that writing was not used for poetry until long after Homer’s time. He argued for a thorough recension of the poem under (or perhaps by) Pisistratus in the sixth century BCE as the first comprehensive written Homer. These ideas were almost immediately applied to the Middle High German Nibelungenlied by Karl Lachmann (1816), who was trained as a classical philologist and indeed continued to contribute in that area at the same time that he was one of the most influential members of the generation that founded the new discipline of Germanistik. On the basis of rough spots and contradictions (not only Homer nods!) Lachmann thought he could recognize twenty separate Lieder in the Middle High German epic. At the same time that Lachmann was deconstructing the German medieval epic, Elias Lönnrot was assembling the Finnish epic he called Kalevala from shorter songs in conscious imitation of the Homer (or Pisistratus) described by Wolf. -
Reshaping East Roman Diplomacy with Barbarians During the 5Th Century
Chapter 1 From Hegemony to Negotiation: Reshaping East Roman Diplomacy with Barbarians during the 5th Century Audrey Becker Introduction During the first half of the 4th century ad, thanks to their military power, the Romans had been giving the barbarian tribes bordering the Danube and the Rhine no choice but to accept the conclusion of deditio after losing the war, leav- ing them in a very humiliating position.1 Yet, the military and political events of the second half of the 4th century ad, and even more of the 5th century ad, led the Romans to reconsider their relationship with the barbarian tribes.2 The characteristics of diplomatic relationship changed even before the defeat at Andrinople in 378, because the barbarian tribes, in the middle of the 4th cen- tury, gradually became able to restore the balance of power, leading the Eastern Roman Empire to reconsider its relations with its barbarian neighbours. This compelled the Byzantine Empire, from the end of the 4th century onward, to take into account barbarian leaders or kings who became, at that time, real dip- lomatic actors playing, of necessity, with formal rules of diplomatic protocol to 1 For instance, Constantinus with the Sarmatians in 323: Zosimus, Historia Nova 2.21.3, ed.Paschoud (Paris, 2000), p. 92; Julian in 358 with the Alemanni kings Suomarius and Hor- tarius: Ammianus Marcellinus, Res Gestae 17.10.3, ed. Sabbah (Paris, 1989), p. 64; Ammianus Marcellinus 17.10.9, p. 66; Constantius ii, in 358 as well, with the kings of the Sarmatians and Quadi: Ammianus Marcellinus 17.12.9–16, pp. -
Actions Héroïques
Shadows over Camelot FAQ 1.0 Oct 12, 2005 The following FAQ lists some of the most frequently asked questions surrounding the Shadows over Camelot boardgame. This list will be revised and expanded by the Authors as required. Many of the points below are simply a repetition of some easily overlooked rules, while a few others offer clarifications or provide a definitive interpretation of rules. For your convenience, they have been regrouped and classified by general subject. I. The Heroic Actions A Knight may only do multiple actions during his turn if each of these actions is of a DIFFERENT nature. For memory, the 5 possible action types are: A. Moving to a new place B. Performing a Quest-specific action C. Playing a Special White card D. Healing yourself E. Accusing another Knight of being the Traitor. Example: It is Sir Tristan's turn, and he is on the Black Knight Quest. He plays the last Fight card required to end the Quest (action of type B). He thus automatically returns to Camelot at no cost. This move does not count as an action, since it was automatically triggered by the completion of the Quest. Once in Camelot, Tristan will neither be able to draw White cards nor fight the Siege Engines, if he chooses to perform a second Heroic Action. This is because this would be a second Quest-specific (Action of type B) action! On the other hand, he could immediately move to another new Quest (because he hasn't chosen a Move action (Action of type A.) yet. -
Die Glorie Der Mittelalterlichen Buchproduktion: Vom Manuskript
applyparastyle “fig//caption/p[1]” parastyle “FigCapt” Mediaevistik 33 . 2020 71 2020 Albrecht Classen University of Arizona 1 Die Glorie der mittelalterlichen Buchproduktion: 1 Vom Manuskript zur Inkunabel, aus literatur- und 71 kulturhistorischer Sicht. Wie dunkel war also das Mittelalter? 88 2020 Abstract: Wenngleich die Geschichte der mittelalterlichen Handschrift bereits vielfach un- tersucht worden ist, lohnt es sich immer wieder, die zentrale Rolle der Handschriften für die moderne Bewertung jener mittelalterlichen Gesellschaft in Betracht zu ziehen. Immer noch hören wir viel zu schnell vom sogenannten ‘dunklen Mittelalter’, so als ob jeder Aspekt der damaligen Zeit negativ oder primitiv, ja barbarisch gewesen wäre. Kulturhistorisch erweist sich solch ein Pauschalurteil sowieso immer als höchst problematisch. Indem hier erneut die Entste- hung und das Wesen mittelalterlicher Handschriften vor allem im literarhistorischen Kontext betrachtet wird, ergibt sich die ungemein wichtige Möglichkeit, innovative epistemologische Kategorien zu entwickeln, um unser Wahrnehmungsvermögen vergangener Kulturen wie der des europäischen Mittelalters kritisch zu schärfen und zu erkennen, dass unsere Urteile über die Vergangenheit meist doch durch konkrete subjektive Filter bestimmt sind, die kaum der kritischen Überprüfung standzuhalten vermögen. Mittelalterliche Handschriften repräsentie- ren bestimmt nicht die gesamte Gesellschaft der damaligen Zeit, vielmehr nur die intellektuelle und soziale Elite, aber sie bestätigen auf ihre Weise, dass auch in der Vormoderne ungemein hochentwickelte und ästhetisch und philosophisch bedeutsamste Kunst- und Schriftwerke ent- stehen konnten. Keywords: Handschriften, Illuminationen, mittelalterlicher Literaturbetrieb, Überlieferung mittelalterlicher Texte, Autorporträts, Sammelcodices, Glorie des Mittelalters Einleitung Zwischen 1504 und 15016 bemühte sich der Bozener Zöllner Hans Ried darum, im Auftrag von Kaiser Maximilian I. das später so benannte Ambraser Heldenbuch per Hand zu schreiben. -
The History, Principles and Practice of Symbolism in Christian
Dear Reader, This book was referenced in one of the 185 issues of 'The Builder' Magazine which was published between January 1915 and May 1930. To celebrate the centennial of this publication, the Pictoumasons website presents a complete set of indexed issues of the magazine. As far as the editor was able to, books which were suggested to the reader have been searched for on the internet and included in 'The Builder' library.' This is a book that was preserved for generations on library shelves before it was carefully scanned by one of several organizations as part of a project to make the world's books discoverable online. Wherever possible, the source and original scanner identification has been retained. Only blank pages have been removed and this header- page added. The original book has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject to copyright or whose legal copyright term has expired. Whether a book is in the public domain may vary country to country. Public domain books belong to the public and 'pictoumasons' makes no claim of ownership to any of the books in this library; we are merely their custodians. Often, marks, notations and other marginalia present in the original volume will appear in these files – a reminder of this book's long journey from the publisher to a library and finally to you. Since you are reading this book now, you can probably also keep a copy of it on your computer, so we ask you to Keep it legal. -
WAGNER and the VOLSUNGS None of Wagner’S Works Is More Closely Linked with Old Norse, and More Especially Old Icelandic, Culture
WAGNER AND THE VOLSUNGS None of Wagner’s works is more closely linked with Old Norse, and more especially Old Icelandic, culture. It would be carrying coals to Newcastle if I tried to go further into the significance of the incom- parable eddic poems. I will just mention that on my first visit to Iceland I was allowed to gaze on the actual manuscript, even to leaf through it . It is worth noting that Richard Wagner possessed in his library the same Icelandic–German dictionary that is still used today. His copy bears clear signs of use. This also bears witness to his search for the meaning and essence of the genuinely mythical, its very foundation. Wolfgang Wagner Introduction to the program of the production of the Ring in Reykjavik, 1994 Selma Gu›mundsdóttir, president of Richard-Wagner-Félagi› á Íslandi, pre- senting Wolfgang Wagner with a facsimile edition of the Codex Regius of the Poetic Edda on his eightieth birthday in Bayreuth, August 1999. Árni Björnsson Wagner and the Volsungs Icelandic Sources of Der Ring des Nibelungen Viking Society for Northern Research University College London 2003 © Árni Björnsson ISBN 978 0 903521 55 0 The cover illustration is of the eruption of Krafla, January 1981 (Photograph: Ómar Ragnarsson), and Wagner in 1871 (after an oil painting by Franz von Lenbach; cf. p. 51). Cover design by Augl‡singastofa Skaparans, Reykjavík. Printed by Short Run Press Limited, Exeter CONTENTS PREFACE ............................................................................................ 6 INTRODUCTION ............................................................................... 7 BRIEF BIOGRAPHY OF RICHARD WAGNER ............................ 17 CHRONOLOGY ............................................................................... 64 DEVELOPMENT OF GERMAN NATIONAL CONSCIOUSNESS ..68 ICELANDIC STUDIES IN GERMANY ......................................... -
Gunther's Head and Hagen's Heart. Royal Sacrifice In
Corpus Mundi. 2020. No 1 От литературного к кинематографическому дискурсу GUNTHER’S HEAD AND HAGEN’S HEART. ROYAL SACRIFICE IN THE LAY OF NIBELUNGS Asya A. Sarakaeva (a) (a) Hainan State University. Haikou, China. Email: asia-lin[at]mail.ru Abstract Thee article deals with the ficnal part of the German epic Nibelungenlied to learn the real significcance, cultural and ideological context of these episodes. Thee author analyzes literary and anthropological theories, as well as archaeological ficnds to conclude that royal deaths described in the epic refliect the ancient practice of human sacrificce. Keywords the Nibelungenlied; the Elder Edda; interpretative level; human sacrificce; intra- communal violence Theis work is licensed under a Creative Commons «Atteribution» ?.0 International License. 135 Corpus Mundi. 2020. No 1 From Literary to Cinematic Discourse ГОЛОВА ГУНТЕРА И СЕРДЦЕ ХАГЕНА. ЖЕРТВОПРИНОШЕНИЕ В «ПЕСНИ О НИБЕЛУНГАХ» Саракаева Ася Алиевна (a) (a) Хайнаньский университет. Хайкоу, Китай. Email: asia-lin[at]mail.ru Аннотация В статье подробному рассмотрению подвергается финальная часть немецкой эпической поэмы «Песнь о нибелунгах», автор ставит себе задачу выяснить подлинное значение, культурный и идеологический контекст этих эпизодов. На основании анализа литературоведческих и антропологических теорий и археологических находок автор приходит к выводу, что гибель королей, описанная в поэме, отражает древную практику человеческих жертвоприношений. Ключевые слова «Песнь о нибелунгах»; «Старшая Эдда»; уровни интерпретации; человеческое жертвоприношение; внутриобщинное насилие Это произведение доступно по лицензии Creative Commons « Atteribution » («Атрибуция») ?.0 Всемирная 136 Corpus Mundi. 2020. No 1 От литературного к кинематографическому дискурсу Thee German epic Nibelungenlied (Thee Lay of Nibelungs) is a unique work of European medieval literature. It can boast a long and elaborate plot, rich imagery and unprecedented for its time psychological insights into human nature, but that’s not what makes it unique. -
Chapter 1 Barbarian Agency and Imperial Withdrawal: the Causes And
Chapter 1 Barbarian agency and imperial withdrawal: the causes and consequences of political change in fourth- and fifth-century Trier and Cologne Introduction Snapshots from the years 310, 410, and 510 reveal that the political landscape of the Rhineland changed almost beyond recognition over the course of three centuries. In 310 AD, Trier was one of the foremost cities of the Roman Empire, acting as a main residence of the Emperor Constantine and the seat of the Gallic praetorian prefecture. In Cologne, meanwhile, the completion of the fortress of Divitia just across the Rhine reinforced the city’s significance in the context of imperial defensive strategy. By 410 AD, however, both the imperial residence and the praetorian prefecture had been removed from Trier, and many frontier troops who had been stationed near Cologne were gone. The Rhineland had suffered an apparently devastating barbarian invasion, that of the Vandals, Alans, and Sueves in 406, and was to face many more attacks in the coming half-century. After the invasion, the legitimate emperors were never to re- establish their firm control in the region, and the reign of the usurper Constantine III (407 - 411) marked the last period of effective imperial rule. Around 510 AD, the last vestiges of imperial political power had vanished, and both Trier and Cologne were part of the Frankish kingdom of Clovis. The speed and extent of this change must have dramatically affected many aspects of life within the cities, and, as such, it is crucial that we seek to understand what brought it about. In so doing, we must consider the fundamental question of whether responsibility for the collapse of imperial power in the Rhineland ultimately lies with the imperial authorities themselves, who withdrew from the region, or with the 11 various barbarian groups, who launched attacks on the frontier provinces and undermined the Empire’s control.