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The Goddess: Myths of the Great Mother Christopher R
Gettysburg College Faculty Books 2-2016 The Goddess: Myths of the Great Mother Christopher R. Fee Gettysburg College David Leeming University of Connecticut Follow this and additional works at: https://cupola.gettysburg.edu/books Part of the English Language and Literature Commons, Folklore Commons, and the Religion Commons Share feedback about the accessibility of this item. Fee, Christopher R., and David Leeming. The Goddess: Myths of the Great Mother. London, England: Reaktion Press, 2016. This is the publisher's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/books/95 This open access book is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. The Goddess: Myths of the Great Mother Description The Goddess is all around us: Her face is reflected in the burgeoning new growth of every ensuing spring; her power is evident in the miracle of conception and childbirth and in the newborn’s cry as it searches for the nurturing breast; we glimpse her in the alluring beauty of youth, in the incredible power of sexual attraction, in the affection of family gatherings, and in the gentle caring of loved ones as they leave the mortal world. The Goddess is with us in the everyday miracles of life, growth, and death which always have surrounded us and always will, and this ubiquity speaks to the enduring presence and changing masks of the universal power people have always recognized in their lives. -
Viking Art, Snorri Sturluson and Some Recent Metal Detector Finds. Fornvännen 113
•• JOURNAL OF SWEDISH ANTIQUARIAN RESEARCH 2018:1 Art. Pentz 17-33_Layout 1 2018-02-16 14:37 Sida 17 Viking art, Snorri Sturluson and some recent metal detector finds By Peter Pentz Pentz, P., 2018. Viking art, Snorri Sturluson and some recent metal detector finds. Fornvännen 113. Stockholm. This paper seeks to contribute to a recent debate on the use of private metal detect- ing and its value within archaeology. Specifically it explores – by presenting some recently found Viking Period artefacts from Denmark – how private metal detect- ing can contribute to our understanding of Viking minds. By bringing together the myths as related by Snorri Sturluson in the early 13th century with the artefacts, I argue that thanks to private metal detecting through the last decades, our ability to recognise Viking art as narrative art has improved substantially. Peter Pentz, National Museum of Denmark, Ny Vestergade 10, DK–1471 København K [email protected] Over 60 years ago, Thorkild Ramskou (1953) the main problems in understanding Viking art described Viking art as almost exclusively deco- is the scarcity of reference materials. We largely rative, only functioning as a covering for plain know Norse mythology and its narratives through surfaces. In the rare cases where it was represen- Medieval Christian authors, in particular Snorri. tative, quality was poor. Viking artists, he stated, Hence, the myths have come down to us biased, preferred to portray scenes from myths of the reinterpreted and even now and then propagan- gods and heroic legends. Such scenes functioned dised. Furthermore, what survived is only a selec- as mnemonics; for the viewer they would recall tion. -
What If? Ed Gross Had Thor's Hammer in His Collection
TM WHAT IF? ED GROSS HAD THOR’S HAMMER IN HIS COLLECTION What If? Action Scene written by Quinn Murphy Thor Datafile designed by Cam Banks he Breakout Mini-Event in the MARVEL HEROIC Matthew Gandy Judd Karlman TROLEPLAYING BASIC GAME has the New Avengers assembling to stop a prison break at the Development Raft, followed by an excursion to the Savage Land. Cam Banks Among the escaped inmates is Dirk Garthwaite Dave Chalker AKA the Wrecker, who in New Avengers #7 is recap- Editing tured while trying to recover his enchanted crow- Amanda Valentine bar. The Wrecker’s old foe, Thor, wasn’t involved in this battle because he was missing at the time, Based on Marvel presumed dead. This bonus content not only adds Heroic Roleplaying by that Action Scene to the Mini-Event, but it asks the Cam Banks (design lead) Rob Donoghue question: What if Thor’s hammer was in the same Matt Forbeck collection of artifacts as the Wrecker’s crowbar? Will Hindmarch This bonus content for the Basic Game mini-event Breakout Philippe-Antoine Ménard includes the following: Jesse Scoble X An Action Scene based on New Avengers #7, with unlockables Layout for Mjolnir and Thor Jeremy Keller X Villain datafiles for the Wrecker and his Wrecking Crew X A new hero datafile for Thor Graphic Design Concepts John Harper Art Marvel Bullpen marvel.com TM & © 2012 Marvel & Subs. 1 ACTION: CATCHING UP WITH THE WRECKING CREW The heroes are tracking down villains that escaped from the Raft during the Breakout event, and the Wrecker is next on their list. -
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. -
THE NORSE Mythology
Sample file Sample file THE NORSE MYtHOLOGY The cosmology of the Norse mythology stands on nine realms: DFWXDOO\WKHÀUVWWRVHWWOHWRWKLVYHU\ODQG Asgard, Alfheim, Helheim, Jotunheim, Midgard, Muspelheim, There are many gods and goddesses in the Norse mythol- 1LÁKHLP6YDUWDOIKHLPDQG9DQDKHLP7KHVHUHDOPVUHVLGHRQ ogy. Yet, as Svilland is a place that is relatively new-settled by Yggdrasil, the tree of life. the children of Odin the Allfather, neither all the deities nor Asgard is the home of the gods. Odin and most of his pan- all the realms are known to them. There are 9 major deities theon reside here. The famous hall of Valhalla is in Asgard, in the pantheon. They have gathered up many believers and greeting warriors of worth to the endless feast. Alfheim is LQÁXHQFHWKHUHDOPGHDUO\ the realm of light elves. They are beautiful creatures ruled by Additionally, there are 4 smaller deities: Heimdall, Ran, JRGGHVV)UH\MD$OWKRXJK)UH\MDLVYHU\LQÁXHQWLDOLQ6YLOODQG Skadi, and Ullr. They have not gathered many followers yet there is no passage to Alfheim from this land. and thus have not established themselves or distinct domains Helheim is the realm of the dishonorable dead. Those who of divine power in Svilland. are not worthy of Valhalla come here when they die. Helheim Odin the Allfather is the god of gods. He rules over Asgard. is ruled by Hel. Jotunheim is the realm of giants, frost and Aegir is the giant-god of the seas. Balder is the god of poetry mountain jotnar came from here. and beauty. Fenrir is the son of Loki. He is the giant wolf god Midgard is the realm of mere mortals. -
Making History Essays on the Fornaldarsögur
MAKING HISTORY ESSAYS ON THE FORNALDARSÖGUR EDITED BY MARTIN ARNOLD AND ALISON FINLAY VIKING SOCIETY FOR NORTHERN RESEARCH UNIVERSITY COLLEGE LONDON 2010 © Viking Society for Northern Research 2010 Printed by Short Run Press Limited, Exeter ISBN: 978-0-903521-84-0 The printing of this book is made possible by a gift to the University of Cambridge in memory of Dorothea Coke, Skjaeret, 1951. Front cover: The Levisham Slab. Late tenth- or early eleventh-century Viking grave cover, North Yorkshire. © Corpus of Anglo-Saxon Stone Sculpture, University of Durham. Photographer J. T. Lang. The editors are grateful to Levisham Local History Society for their help and support. CONTENTS Introduction RORY McTURK v S†gubrot af fornkonungum: Mythologised History for Late Thirteenth-Century Iceland ELIZABETH ASHMAN ROWE 1 Hrólfs saga kraka and the Legend of Lejre TOM SHIPPEY 17 Enter the Dragon. Legendary Saga Courage and the Birth of the Hero ÁRMANN JAKOBSSON 33 Þóra and Áslaug in Ragnars saga loðbrókar. Women, Dragons and Destiny CAROLYNE LARRINGTON 53 Hyggin ok forsjál. Wisdom and Women’s Counsel in Hrólfs saga Gautrekssonar JÓHANNA KATRÍN FRIÐRIKSDÓTTIR 69 Við þik sættumsk ek aldri. Ñrvar-Odds saga and the Meanings of Ñgmundr Eyþjófsbani MARTIN ARNOLD 85 The Tale of Hogni And Hedinn TRANSLATED BY WILLIAM MORRIS AND EIRÍKR MAGNÚSSON INTRODUCTION BY CARL PHELPSTEAD 105 The Saga of Ásmundr, Killer of Champions TRANSLATED BY ALISON FINLAY 119 Introduction v INTRODUCTION RORY MCTURK There has recently been a welcome revival of interest in the fornaldarsögur, that group of Icelandic sagas known variously in English as ‘mythical- heroic sagas’, ‘legendary sagas’, ‘sagas of times past’, and ‘sagas of Icelandic prehistory’. -
Þórsdrápa and the “Sif S Hair Episode” in Skáldskaparmál As Transformations an Interpretative Experiment in Old Norse Mythology
GUÐMUNDUR INGI MARKÜSSON Þórsdrápa and the “Sif s Hair Episode” in Skáldskaparmál as Transformations An Interpretative Experiment in Old Norse Mythology Introduction The following analysis of two well known mythological sources, Þórs- drápa (Þdr) and the "Sif s hair episode” (Hvi er gull kallat haddr Sifjar ?) in Skáldskaparmál 35 (Sif), is intended to provide new perspectives and examine some of their consequences. The analysis is rooted in an inter pretation of Þdr as a myth illustrating the emergence of Þórr’s hammer. As is well known, there exists another such myth within the Old Norse corpus, of an entirely different character, i.e. Sif. A comparison of the two should be of interest, not the least considering the extent to which they differ. The analysis will be framed by Lévi-Strauss’ transformation concept, a key feature of his great comparative work Mythologiques i-iv (1964-1971). The Poetic Edda and Prose Edda will be referred to by way of Jón Helgason’s edition (1971) and that of Anthony Faulkes (1982, J998), respectively. As to Þdr, if not otherwise specified, I will be utiliz ing the edition of Finnur Jónsson (1908).The inquiry is organized along the following lines. The first part focuses on the interpretation of Þdr as a hammer aetiology. In the second, the two sources are analyzed with the aim of demonstrating that the one forms a transformation of the other, on the basis of which it will be inferred that they share semantic catego ries. The third part concerns the development of a hypothesis placing the two sources within a common framework. -
Stories and Ballads of the Far Past Cambridge University Press C
<* 1 < ' (A D 1 a A I! JL 5781 A743271 STORIES AND BALLADS OF THE FAR PAST CAMBRIDGE UNIVERSITY PRESS C. F. CLAY, MANAGER LONDON I FETTER LANE, E.G. 4 NEW YORK : THE MACMILLAN CO. BOMBAY ] CALCUTTA > MACMILLAN AND CO., LTD. MADRAS j TORONTO : THE MACMILLAN CO. OF CANADA, LTD. TOKYO : MARUZEN-KABUSHIKI-KAISHA ALL RIGHTS RESERVED STORIES AND BALLADS OF THE FAR PAST TRANSLATED FROM THE NORSE (ICELANDIC AND FAROESE) WITH INTRODUCTIONS AND NOTES BY N. KERSHAW ' > . , I . ' ' , . , > > > . , 1 > I J J >> I. CAMBRIDGE AT THE UNIVERSITY PRESS 1921 1 Preface few of the Fornaldar Sogur Northrlanda VERYhave hitherto been translated into English. The Volsungasaga is of course well known, but with this * exception the Stories of Icelanders,' and the 'Stories of the Kings of Norway' are probably the only sagas familiar to the majority of English readers. Of the four sagas contained in this volume only one the Thdttr of Sorli has appeared in English before, though the poetry which they contain has frequently been translated, from the time of Hickes's Thesaurus (1705). So far as I am' aware "no version of any of the Faroese ballads has appeared in English. Out of the great number which were collected during the i8th and rothS centuries L'-have chosen a few which deal with the same stories as the sagas translated here; and for purposes of comparison I have added a short extract from one of the Icelandic Rimur, as well as a Danish ballad and part of the Shetland Hildina. In accordance with general custom in works of this kind I have discarded the use of accents, un- familiar symbols, etc., except in a few Norse words which can hardly be anglicised. -
Norse Mythology: a Guide to the Gods, Heroes, Rituals, and Beliefs
Norse Mythology: A Guide to the Gods, Heroes, Rituals, and Beliefs John Lindow OXFORD UNIVERSITY PRESS Norse Mythology This page intentionally left blank Norse Mythology: A Guide to the Gods, Heroes, Rituals, and Beliefs John Lindow 3 3 Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Singapore Taipei Tokyo Toronto and an associated company in Berlin Copyright © 2001 by John Lindow First published by ABC-Clio 130 Cremona Drive, P.O. Box 1911 Santa Barbara, California 93116-1911 First issued as an Oxford University Press paperback, 2002 198 Madison Avenue, New York,New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press Library of Congress Cataloging-in-Publication Data Lindow, John. [Handbook of Norse mythology] Norse mythology: a guide to the Gods, heroes, rituals, and beliefs / by John Lindow. p. cm. Includes bibliographical references and index. ISBN 0-19-515382-0 (pbk.: alk. paper) 1. Mythology, Norse. I.Title. BL860.L56 2001 293'.13—dc21 2001058370 10987654321 Printed in the United States of America on acid-free paper CONTENTS A Note on Orthography, xv 1 Introduction, 1 The Historical Background, 2 -
Norse Mythology
N O R S E M Y T H O L O G Y N E I L G A I M A N W. W. NORTON & COMPANY Independent Publishers Since 1923 New York • London FOR EVERETT, OLD STORIES FOR A NEW BOY. C O N T E N T S An Introduction THE PLAYERS BEFORE THE BEGINNING, AND AFTER YGGDRASIL AND THE NINE WORLDS MIMIR’S HEAD AND ODIN’S EYE THE TREASURES OF THE GODS THE MASTER BUILDER THE CHILDREN OF LOKI FREYA’S UNUSUAL WEDDING THE MEAD OF POETS THOR’S JOURNEY TO THE LAND OF THE GIANTS THE APPLES OF IMMORTALITY THE STORY OF GERD AND FREY HYMIR AND THOR’S FISHING EXPEDITION THE DEATH OF BALDER THE LAST DAYS OF LOKI RAGNAROK: THE FINAL DESTINY OF THE GODS A Glossary A N I N T R O D U C T I O N It’s as hard to have a favorite sequence of myths as it is to have a favorite style of cooking (some nights you might want Thai food, some nights sushi, other nights you crave the plain home cooking you grew up on). But if I had to declare a favorite, it would probably be for the Norse myths. My first encounter with Asgard and its inhabitants was as a small boy, no more than seven, reading the adventures of the Mighty Thor as depicted by American comics artist Jack Kirby, in stories plotted by Kirby and Stan Lee and dialogued by Stan Lee’s brother, Larry Lieber. Kirby’s Thor was powerful and good-looking, his Asgard a towering science fictional city of imposing buildings and dangerous edifices, his Odin wise and noble, his Loki a sardonic horn-helmeted creature of pure mischief. -
ISL 1242914143 183 206 Pdf.Pdf (10.91Mb)
Enabling Love: Dwarfs in Old Norse-Icelandic Romances A r m a n n j a k o b s s o n For the last seventy years, most people in the Western hemisphere have known from early childhood that a good romance contains a beau tiful, persecuted heroine, a handsome prince, an evil stepmother, and, of course, dwarfs, who by the graces of good fortune play a pivotal role in bringing the romance to its only acceptable conclusion: love, marriage, and retribution. Walt Disney’s Snow White and the Seven Dwarfs familiarized the masses with romance dwarfs, though Disney neither invented the romance nor the dwarf. The film is ultimately a twentieth-century appropriation of the Kinder- und Hausmarchen of the brothers Grimm, which in turn hail from a long tradition, where love, adventure, and dwarfs are intertwined.1 One branch of this tradi tion are the late mediaeval Icelandic romances, to which Marianne Kalinke’s article in Old-Norse Icelandic Literature: A Critical Guide serves as an indispensable guide,2 and which include a number of fornaldarsogur and riddarasogur.3 Many of these romances deal not 1. As Paul Battles,” Dwarfs in Germanic Literature: Deutsche Mythologie or Grimm’s Myths,” in The Shadow-Walkers. Jacob Grimm’s Mythology of the Monstrous, ed. Tom Shippey, pp. 29-82 (Tempe, Arizona: Arizona Center for Medieval and Renaissance Studies, 2005), puts it: “ The continuity between medieval and modern depictions of dwarfs remains striking” (p. 69). 2. Marianne E. Kalinke, “Norse Romance (Riddarasogur),” in Old Norse-Icelandic Literature: A Critical Guide, ed. -
Kennsluleiðbeiningar Og Verkefni
KENNSLULEIÐBEININGAR OG VERKEFNI NÁMSGAGNASTOFNUN 09852 INNGANGUR Ágætu kennarar Lífið í Ásgarði er framhald bókarinnar Óðinn og bræður hans. Eins og áður legg ég áherslu á að þetta er ekki kennslubók í ásatrú heldur endursögn á sögunum úr Gylfaginningu og að hluta til úr Skáldskaparmálum, eins og ég skil þær. Trúlega verða ekki allir sem hafa sökkt sér niður í þessi fræði sammála túlkun minni á ýmsum smáatriðum. Hver sem les norræna goðafræði fær eigin sýn á þau og túlkar þau á sinn hátt. Og það er einmitt kostur þessara fornu fræða hve margt við getum lesið út úr þeim. Eftir að hafa lesið og gluggað í fræðibækur, ekki síst bók Anders Bæksted, Goð og hetjur í heiðnum sið, skýrðust fyrir mér eiginleikar og hlutverk hinna ýmsu goða og gyðja. Reynt er að draga fram persónuleika þeirra ekki síst með samtölum. Samtölin eru tilbúningur minn en gagnleg til að gefa persónunum líf. Notkun Ég sé fyrir mér ýmsa möguleika á því hvernig hægt sé að nota þessa bók í skólanum: Kennari getur lesið bókina fyrir bekkinn í nestistímum og leyft svo nemendum að glíma við verkefnin hverjum fyrir sig eða nokkrum saman. Nemendur geta sjálfir lesið bókina og fengið eftir á að velja sér verkefni úr henni til að vinna. Þeir geta myndað litla hópa, þriggja til fjögra manna sem lesa kaflana saman og vinna svo saman úr þeim. Sjálfsagt er að vinna sem fjölbreyttust verkefni við bókina. Það má hugsa sér að lesa, skrifa, teikna, ræða saman, kynna fyrir öðrum, jafnvel að semja tónlist við ákveðin atriði, búa til veggspjöld eða líkön, útbúa glærusýningu, taka upp leikin atriði á myndband og taka viðtöl við persónur bókarinnar.