Introduction to Freehold Heathenry
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Heathen Tribes
Heathen Tribes A Collection of Essays Concerning the Tribes of Our Folk by Mark Ludwig Stinson Chieftain of Jotun's Bane Kindred Temple of Our Heathen Gods Kansas City Area Written During 2010-2011 First Edition “Heathen Tribes: A Collection of Essays Regarding the Tribes of Our Folk” © 2011 by Mark Stinson. All rights reserved, under a specific Open License. This book may be used, copied, distributed, and transmitted in any form or by any means, as long as the contents of the book remain intact and unchanged, including this copyright information. Individual essays or sections of the book may be freely syndicated in any form and by any means, as long as credit is given using all of the following information (in quotations)... “Written and Copyrighted in 2011 by Mark Stinson, Used with Permission, Heathengods.com.” Published by Jotun's Bane Kindred Temple of Our Heathen Gods P.O. Box 618 Liberty, MO 64069 http://Heathengods.com Table of Contents Acknowledgments 1 Introduction 2 We Need More Practical Heathen Books 4 Section 1 – Essays for New Tribes 7 Your Ancestors Were Heathen 8 We Live in Saga Times 11 Growing Heathenry Using a Grassroots Approach 12 The Future of Heathenry – Grassroots or National? 15 Rising to the Challenge 17 Terminology - “Kindred” vs. “Tribe” 20 To Oath or Not to Oath? 21 Developing Tribal Thew 25 Ideas and Tips for Open Heathen Events 31 How to Organize a Successful Pubmoot 36 Raising Awareness Among “Normal” Folks 41 Bringing Our Folk Back to Their Ancestral Ways 47 Clearing up Misconceptions New Heathens May -
TERMS for BEOWULF Wyrd
TERMS FOR BEOWULF Wyrd: a concept in AngloSaxon culture roughly corresponding to fate or an individual’s destiny (derived from weorþan, which means “to become.” Comitatus: The bond / contract between the Chieftan/Lord and his vassals. The Lord’s vassals are a band of loyal/noble followers; men who have sworn to defend the Chieftan with their lives in exchange for protection, victory, and spoils. TRADITIONALLY, in this relationship, the vassals promise at least 40 days of military service, money for the Lord’s eldest daughter’s dowry, money if the Lord’s eldest son is knighted, money if the lord goes on a crusade, money for the Lord’s ransom if he is captured, advice if asked. Symbel – a rite of AngloSaxon paganism – sometimes referred to as a “drinking rite.” It is a symbolic ritualistic celebration. During this celebration, attendees are seated by order/rank of importance. The ritual begins with a FORESPEECH in which the host welcomes his guests and provides context/reason for the gathering. It is followed by the POURING, which is when the Lady of the house pours mead to the men – in order of rank. She starts by pouring mead into the horn. This act represents the idea of “watering the world tree” and bringing the past to the present. Once the POURING is complete, the FULLS commences. The FULLS is a series of boasts about the three most important gods to the situation at hand. The FULLS is followed by the MINNI, which is a toast to dead ancestors. Next comes the GIFTGIVING when the host presents important/worthy attendees with gifts to recognize them. -
Download Continuity of Anglo-Saxon Iconography for FREE
Continuity of Anglo-Saxon Iconography The Twilight Age Volume Three Bob Trubshaw Continuity of Anglo-Saxon Iconography is an attempt to understand what pre-conversion 'idols' – the weohs and stapols – might have looked like. More especially, this study aims to establish what the meaning and significance of these carvings might have been, based in large part on evidence from early Christian stone crosses. In the process this study sheds light on the way these motifs would have been understood by people at the time – which is not necessarily how such imagery came to be regarded a few centuries later. As none of the wooden weohs and stapols have survived there is, clearly, considerable speculation involved. However these suggestions fit within a plausible 'underlying' worldview established in the first two volumes of The Twilight Age. The fifth volume of this series looks in more detail at the locations of such carvings. About The Twilight Age series Not that many decades ago English history between the fifth the eleventh centuries was deemed the ‘Dark Ages’, largely because of the lack of evidence. Much has changed, and scholarship has shed considerable light on the later centuries. However by then many parts of Britain were evolving into Anglo-Scandinavian culture. Evidence for the Anglo-Germanic fifth and sixth centuries is still scarce and difficult to interpret, so the epithet ‘Dark Ages’ is still apt. The years in between occupy a comparative ‘twilight zone’, fascinating because of numerous social changes, not least the various cultural transitions which ultimately led to Christianity being the dominant religion. -
'Northern Gods in Marble'
‘NORTHERN GODS IN MARBLE’ The Romantic Rediscovery Marble of Norse Mythology [ KNUT LJØGODT ABSTRACT The Norse myths were rediscovered in the late 18th century, and became important to contemporary culture during the first half of the 19th century. The Romantics discussed the usage of themes from Norse mythology; soon, these themes became widespread in art and literature. Their popularity is closely connected with the national ideals and political situations of the period, but they were often given individual artistic interpretations. The ] Romantic interest in Norse myths and heroes held sway over artists and writers throughout the 19th century. KEYWORDS Norse myths, Norse heroes, pagan religion, Knud Baade, Romanticism vs Classicism. Introduction Karen Blixen’s short story ‘Sorrow-Acre’, published in Winter’s Tales (1942) takes place at a Danish country estate in the late 18th century. During a conversation between the baron and his nephew, they discuss Classical versus Norse mythol- ogy. The young man has discovered the Norse myths through a recently pub- lished work: ‘He mentioned the name of the author, Johannes Ewald, and recited a couple of the elevated verses.’ The book he refers to is Ewald’s play The Death of Balder (1775). He goes on to praise the Norse gods: ‘And I have wondered, while I read,’ he went on after a pause, still moved by the lines he himself had declaimed, ‘that we have not till now understood how much our Nordic my- thology in moral greatness surpasses that of Greece and Rome. If it had not been for the physical beauty of the ancient gods, which have come down to us in marble, no modern mind could hold them worthy of worship. -
Clashing Perspectives of World Order in JRR Tolkien's Middle-Earth
ABSTRACT Fate, Providence, and Free Will: Clashing Perspectives of World Order in J. R. R. Tolkien’s Middle-earth Helen Theresa Lasseter Mentor: Ralph C. Wood, Ph.D. Through the medium of a fictional world, Tolkien returns his modern audience to the ancient yet extremely relevant conflict between fate, providence, and the person’s freedom before them. Tolkien’s expression of a providential world order to Middle-earth incorporates the Northern Germanic cultures’ literary depiction of a fated world, while also reflecting the Anglo-Saxon poets’ insight that a single concept, wyrd, could signify both fate and providence. This dissertation asserts that Tolkien, while acknowledging as correct the Northern Germanic conception of humanity’s final powerlessness before the greater strength of wyrd as fate, uses the person’s ultimate weakness before wyrd as the means for the vindication of providence. Tolkien’s unique presentation of world order pays tribute to the pagan view of fate while transforming it into a Catholic understanding of providence. The first section of the dissertation shows how the conflict between fate and providence in The Silmarillion results from the elvish narrator’s perspective on temporal events. Chapter One examines the friction between fate and free will within The Silmarillion and within Tolkien’s Northern sources, specifically the Norse Eddas, the Anglo-Saxon Beowulf, and the Finnish The Kalevala. Chapter Two shows that Tolkien, following Boethius’s Consolation of Philosophy, presents Middle-earth’s providential order as including fated elements but still allowing for human freedom. The second section shows how The Lord of the Rings reflects but resolves the conflict in The Silmarillion between fate, providence, and free will. -
Rędende Iudithše: the Heroic, Mythological and Christian Elements in the Old English Poem Judith
University of San Diego Digital USD Undergraduate Honors Theses Theses and Dissertations Fall 12-22-2015 Rædende Iudithðe: The eH roic, Mythological and Christian Elements in the Old English Poem Judith Judith Caywood Follow this and additional works at: https://digital.sandiego.edu/honors_theses Part of the European Languages and Societies Commons, and the Literature in English, British Isles Commons Digital USD Citation Caywood, Judith, "Rædende Iudithðe: The eH roic, Mythological and Christian Elements in the Old English Poem Judith" (2015). Undergraduate Honors Theses. 15. https://digital.sandiego.edu/honors_theses/15 This Undergraduate Honors Thesis is brought to you for free and open access by the Theses and Dissertations at Digital USD. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital USD. For more information, please contact [email protected]. Rædende Iudithðe: The Heroic, Mythological and Christian Elements in the Old English Poem Judith ______________________ A Thesis Presented to The Faculty and the Honors Program Of the University of San Diego ______________________ By Jude Caywood Interdisciplinary Humanities 2015 Caywood 2 Judith is a character born from the complex multicultural forces that shaped Anglo-Saxon society, existing liminally between the mythological, the heroic and the Christian. Simultaneously Germanic warrior, pagan demi-goddess or supernatural figure, and Christian saint, Judith arbitrates amongst the seemingly incompatible forces that shaped the poet’s world, allowing the poem to serve as an important site for the making of a new Anglo-Saxon identity, one which would eventually come to be the united English identity. She becomes a single figure who is able to reconcile these opposing forces within herself and thereby does important cultural work for the world for which the poem was written. -
Animality, Subjectivity, and Society in Anglo-Saxon England
IDENTIFYING WITH THE BEAST: ANIMALITY, SUBJECTIVITY, AND SOCIETY IN ANGLO-SAXON ENGLAND A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of English Language and Literature by Matthew E. Spears January 2017 © 2017 Matthew E. Spears IDENTIFYING WITH THE BEAST: ANIMALITY, SUBJECTIVITY, AND SOCIETY IN ANGLO-SAXON ENGLAND Matthew E. Spears, Ph.D. Cornell University, 2017 My dissertation reconsiders the formation of subjectivity in Anglo-Saxon England. It argues that the Anglo-Saxons used crossings of the human-animal divide to construct the subject and the performance of a social role. While the Anglo-Saxons defined the “human” as a form of life distinct from and superior to all other earthly creatures, they also considered most humans to be subjects-in-process, flawed, sinful beings in constant need of attention. The most exceptional humans had to be taught to interact with animals in ways that guarded the self and the community against sin, but the most loathsome acted like beasts in ways that endangered society. This blurring of the human-animal divide was therefore taxonomic, a move to naturalize human difference, elevate some members of society while excluding others from the community, and police the unruly and transgressive body. The discourse of species allowed Anglo-Saxon thinkers to depict these moves as inscribed into the workings of the natural world, ordained by the perfect design of God rather than a product of human artifice and thus fallible. “Identifying with the Beast” is informed by posthumanist theories of identity, which reject traditional notions of a unified, autonomous self and instead view subjectivity as fluid and creative, produced in the interaction of humans, animals, objects, and the environment. -
The Significant Other: a Literary History of Elves
1616796596 The Significant Other: a Literary History of Elves By Jenni Bergman Thesis submitted for the degree of Doctor of Philosophy Cardiff School of English, Communication and Philosophy Cardiff University 2011 UMI Number: U516593 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U516593 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DECLARATION This work has not previously been accepted in substance for any degree and is not concurrently submitted on candidature for any degree. Signed .(candidate) Date. STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. (candidate) Date. STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. Signed. (candidate) Date. 3/A W/ STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed (candidate) Date. STATEMENT 4 - BAR ON ACCESS APPROVED I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan after expiry of a bar on accessapproved bv the Graduate Development Committee. -
04-IASC-Herald-2012
IASC HERALD – OCTOBRE 2012 Dear reader, Table of contents Finally it is there! The magazine laying in front of you What makes IASC so special? 1 that we baptized IASC Herald back in 2009. Three issues by Haimo Grebenstein – Germany went before this one. Because last International Asatru Summer Camp was different from the one we had Chaos and Confusion 3 three years ago, this magazine will show some by May-Britt Bjørlo Henriksen – Norway differences to the one we made after that camp. But some things have remained the same: it is still full with IASC 2012 in a Polish mirror 4 stories, memories, pictures and anecdotes from by Vrede and Agnieszka – Poland another great, splendid, magnificent and successful summer camp! The auction 5 Thinking back to those days last July and August I really by Todd Chambers – Denmark / USA only can find nice and good memories. I remember many nice and good talks, numerous pleasant passings Seidhr workshop at IASC 2012 7 of horns, interesting excursions, lectures and by Christian Kordas – Germany workshops and a very nice and pleasant stay at a comfortable place with a group of great people. And Utiseta – sitting out for wisdom and ecstasy 8 already the retelling of little anecdotes has begun when by Andre Henriques – UK / Portugal meeting my heathen friends who where there. It is my hope that the contents of this Herald will give you back Friendship, frith and fun: Asatru-Eu 10 a little of the feel of this year's summer camp every by Frigga Asraaf – Netherlands time you go through it's pages and by doing so will keep the spirit of IASC alive. -
Old English Literature: a Brief Summary
Volume II, Issue II, June 2014 - ISSN 2321-7065 Old English Literature: A Brief Summary Nasib Kumari Student J.k. Memorial College of Education Barsana Mor Birhi Kalan Charkhi Dadri Introduction Old English literature (sometimes referred to as Anglo-Saxon literature) encompasses literature written in Old English (also called Anglo-Saxon) in Anglo-Saxon England from the 7th century to the decades after the Norman Conquest of 1066. "Cædmon's Hymn", composed in the 7th century according to Bede, is often considered the oldest extant poem in English, whereas the later poem, The Grave is one of the final poems written in Old English, and presents a transitional text between Old and Middle English.[1] Likewise, the Peterborough Chronicle continues until the 12th century. The poem Beowulf, which often begins the traditional canon of English literature, is the most famous work of Old English literature. The Anglo-Saxon Chronicle has also proven significant for historical study, preserving a chronology of early English history.Alexander Souter names the commentary on Paul's epistles by Pelagius "the earliest extant work by a British author".[2][3] In descending order of quantity, Old English literature consists of: sermons and saints' lives, biblical translations; translated Latin works of the early Church Fathers; Anglo-Saxon chronicles and narrative history works; laws, wills and other legal works; practical works ongrammar, medicine, geography; and poetry.[4] In all there are over 400 survivingmanuscripts from the period, of which about 189 are considered "major".[5] Besides Old English literature, Anglo-Saxons wrote a number of Anglo-Latin works. -
Semantic Shift in Old English and Old Saxon Identity Terms
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 5-7-2019 1:00 PM Semantic Shift in Old English and Old Saxon Identity Terms David A. Carlton The University of Western Ontario Supervisor Toswell, M. J. The University of Western Ontario Graduate Program in English A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © David A. Carlton 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Medieval Studies Commons Recommended Citation Carlton, David A., "Semantic Shift in Old English and Old Saxon Identity Terms" (2019). Electronic Thesis and Dissertation Repository. 6183. https://ir.lib.uwo.ca/etd/6183 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Christianity substantially altered Germanic life during the early Middle Ages. However, no large-scale studies have attempted to visualize Christianization through macroscopic semantic trends, nor have any studies used Old Saxon as a control group to illustrate the role of Christianity in less obvious semantic contexts. The core question of this project, then, revolves around semantic corpora and their role in clarifying sociocultural phenomena: how can a cross-section of Old Saxon and Old English semantics help clarify Christianity's role in re-shaping early medieval Germanic identity? This study uses corpus linguistics, post-colonial/historical theory, and Digital Humanities approaches to schematize the processes underlying the semantic shift of eight Old English/Old Saxon lexeme pairs— ambiht/ambaht, facen/fekan, gædeling/gaduling, hosp–hosc/hosk, geneat/ginot, scyldig/skuldig, þegn/thegan, and wlanc/wlank—that illustrate how the Anglo-Saxons and Continental Saxons re- interpreted their social and moral “Self” between ca. -
Yggdrasil: Asgard Rulebook
All the base rules for Yggdrasil still apply when playing with this expansion except for the transe and Hel’s effect. In renouncing my divinity, My brothers’ power grew mightily. For, by the magic of the Sejdr, Trance These worlds and I are now bound. In a selfless act of sacrifice, a God can enter a trance to increase all of the other Gods’ power. This expansion adds a new action in addition to the original nine. For one action, the active God can enter or leave a trance. Simply turn the God sheet over to the other side (normal or trance). The active God cannot enter and leave a trance during the same turn. Trance As long as a God is in a trance, • he and all the Gods get a new power: the Trance Power of the God under the trance. The Trance Power can be used by any of the Gods, including the one under the trance. However • This God under a trance loses his Personal Power and • the God under a trance cannot perform an action in Asgard, i.e., the God under a trance cannot attack one of the six enemies. Personal Power Trance Power el The Viking counters that Hel removes from the H bags are not placed on the World of the Dead any more, but are permanently discarded. The Gods cannot use them again during the game. At the beginning of his turn, Odin draws 2 When they play on the Ice Fortress and Enemy cards instead of one, chooses which defeat a Giant, the Gods discard the Giant one he wants to play and puts the other one of their choice, one who is active or one odin back on or under the deck.