Odins Wanderzug Nach Schweden. Altisländische Gelehrte
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September 2017 N°17
ISSN 2499-1341 EXPRESSION quarterly e-journal of atelier in cooperation with uispp-cisenp. international scientific commission on the intellectual and spiritual expressions of non-literate peoples N°17 September 2017 CULT SITES AND ART Anthropomorphic face on the entrance slab of a circular ceremonial structure from Har Karkom, Negev desert, Israel (Pre-pottery Neolithic site BK 608). EDITORIAL NOTES accompany them. What echoes accompanied CULT SITES the paintings in the prehistoric caves? What performances, if any, were taking place in front AND ART of the decorated rock surfaces? The visual art stresses myths, mythical beings Walking along a narrow trail, on the edge of and/or historical facts, which are related to the a steep valley in the middle of a deep forest, cult and to the sanctity of the site. It is the visual we suddenly heard noises of human presen- memory that justifes the function of the site. ce, voices that were neither speeches nor son- Was it the same in prehistoric times? In front of gs, something in between. We reached a cave where a number of people were assembled in rock art sites, in the Camonica Valley, Italy, or a corner and an old bearded man was standing in Kakadu in Arnhem Land, Australia, or in the on an upper step of the rock talking ... perhaps Drakensberg caves, South Africa, or in the Al- talking, perhaps declaiming, perhaps singing, tamira cave, Spain, the presence of prehistoric but not to the people below. He was talking or art awakens a sense of sacredness, we feel that performing or praying in front of a white rock these were and are special places but .. -
Old Germanic Heritage in Metal Music
Lorin Renodeyn Historical Linguistics and Literature Studies Old Germanic Heritage In Metal Music A Comparative Study Of Present-day Metal Lyrics And Their Old Germanic Sources Promotor: Prof. Dr. Luc de Grauwe Vakgroep Duitse Taalkunde Preface In recent years, heathen past of Europe has been experiencing a small renaissance. Especially the Old Norse / Old Germanic neo-heathen (Ásatrú) movement has gained popularity in some circles and has even been officially accepted as a religion in Iceland and Norway among others1. In the world of music, this renaissance has led to the development of several sub-genres of metal music, the so-called ‘folk metal’, ‘Viking Metal’ and ‘Pagan Metal’ genres. Acknowledgements First and foremost I would like to thank my promoter, prof. dr. Luc de Grauwe, for allowing me to choose the subject for this dissertation and for his guidance in the researching process. Secondly I would like to thank Sofie Vanherpen for volunteering to help me with practical advice on the writing process, proof reading parts of this dissertation, and finding much needed academic sources. Furthermore, my gratitude goes out to Athelstan from Forefather and Sebas from Heidevolk for their co- operation in clarifying the subjects of songs and providing information on the sources used in the song writing of their respective bands. I also want to thank Cris of Svartsot for providing lyrics, translations, track commentaries and information on how Svartsot’s lyrics are written. Last but not least I want to offer my thanks to my family and friends who have pointed out interesting facts and supported me in more than one way during the writing of this dissertation. -
Gylfaginning Codex Regius, F
Snorri Sturluson Edda Prologue and Gylfaginning Codex Regius, f. 7v (reduced) (see pp. 26/34–28/1) Snorri Sturluson Edda Prologue and Gylfaginning Edited by ANTHONY FAULKES SECOND EDITION VIKING SOCIETY FOR NORTHERN RESEARCH UNIVERSITY COLLEGE LONDON 2005 © Anthony Faulkes 1982/2005 Second Edition 2005 First published by Oxford University Press in 1982 Reissued by Viking Society for Northern Research 1988, 2000 Reprinted 2011 ISBN 978 0 903521 64 2 Printed by Short Run Press Limited, Exeter Contents Codex Regius, fol. 7v ..........................................................Frontispiece Abbreviated references ....................................................................... vii Introduction ..........................................................................................xi Synopsis ..........................................................................................xi The author ..................................................................................... xii The title ....................................................................................... xvii The contents of Snorri’s Edda ................................................... xviii Models and sources ........................................................................ xx Manuscripts .............................................................................. xxviii Bibliography ...............................................................................xxxi Text ....................................................................................................... -
The God-Semantic Field in Old Norse Prose and Poetry
The God-semantic Field in Old Norse Prose and Poetry A Cognitive Philological Analysis Petra Mikolić Masteroppgave ved Instittut for lingvistiske og nordiske studier Det humanistiske fakultetet Universitetet i Oslo Oslo, Norway 29.05.2013 II The God-semantic Field in Old Norse Prose and Poetry: A Cognitive Philological Analysis III © Petra Mikolić 2013 The God-semantic Field in Old Norse Prose and Poetry: A Cognitive Philological Analysis Petra Mikolić http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo IV Abstract The thesis under the title ―The God-semantic Field: A Cognitive Philological Analysis‖ analyses eight different lexemes that belong to the same semantic field – god. The research is a comparative and contrastive analysis of the lexemes within Old Norse prose and poetry according to their use and funcion withing texts with Christian and non-Christian topic.The aim was to use a different approach in the analysis of the words in question in order to give a better structured semantic field according to the use of the words. V Table of Contents 1. Introduction……………………………………………………………….…………..……1 1.1. Aim of the thesis…………………………………………………………………1 1.2. Method…………………………………………………………….……………..2 1.3. Theory of the semantic fields…………………………………………………….2 1.4. Primary and secondary sources………………………………………………......3 1.5. Problems encountered in the research……………………………………………4 1.6. Division of the analysis………………………………………….……………….5 2. History in the Middle Ages – The treatment of the Old Norse traditions and beliefs in the texts……………………………………………………………………………….……..……6 3. Dating the primary sources………………………………………………………….……..11 4. Analysis of the semantic field: the lexemes in the dyēus-semantic field……………….....17 4.1. The lexeme týr……………………………………………………………….......17 4.2. -
RMN Newsletter 8 2014
The Retrospective Methods Network Newsletter May 2014 № 8 Edited by Frog Helen F. Leslie and Joseph S. Hopkins Published by Folklore Studies / Dept. of Philosophy, History, Culture and Art Studies University of Helsinki, Helsinki 1 RMN Newsletter is a medium of contact and communication for members of the Retrospective Methods Network (RMN). The RMN is an open network which can include anyone who wishes to share in its focus. It is united by an interest in the problems, approaches, strategies and limitations related to considering some aspect of culture in one period through evidence from another, later period. Such comparisons range from investigating historical relationships to the utility of analogical parallels, and from comparisons across centuries to developing working models for the more immediate traditions behind limited sources. RMN Newsletter sets out to provide a venue and emergent discourse space in which individual scholars can discuss and engage in vital cross- disciplinary dialogue, present reports and announcements of their own current activities, and where information about events, projects and institutions is made available. RMN Newsletter is edited by Frog, Helen F. Leslie and Joseph S. Hopkins, published by Folklore Studies / Department of Philosophy, History, Culture and Art Studies University of Helsinki PO Box 59 (Unioninkatu 38 A) 00014 University of Helsinki Finland The open-access electronic edition of this publication is available on-line at: http://www.helsinki.fi/folkloristiikka/English/RMN/ © 2014, the authors ISSN 2324-0636 (print) ISSN 1799-4497 (electronic) All scientific articles in this journal have been subject to peer review. 2 Contents Editor’s Note ....................................................................................................................................... -
Table of Contents Introduction
Table Of Contents Introduction . 3 Einherjar . 27 Fafnir . 4 Fenrir . 6 Fylgja . 22 Fossegrim . 8 Jormungandr . 10 Garmr . 12 Gullinbursti . 13 Hafgufa . 14 Hamingja . 22 Ragnarok by Louis Moe, 1898 Hamr . 21 Hugr . 22 Hymir . 16 Jotunn . 17 Landvaettir . 18 Lyngbakr . 15 Nacken . 8 Nidhogg . 20 Ratatoskr . 19 Selkolla . 23 Surtr . 24 Valkyrie . 26 Sample file Introduction ello there! Welcome to this little experiment Another thing to note is that there are Three Mythic of mine where I see if I can take some of the Monsters in this book, those being three of the biggest most terrifying and awe-inspiring monsters baddest boys in the world of Norse Mythology: Fenrir, from real world mythology and turn them into Jormungandr, and Surtr. Using the Mythic Encounter rules fearsome creatures for DMs to throw at their introduced in The Mythic Odyssey to Theros book, I decide to poor, helpfless, unsuspecting players. As a really make these guys stat blocks worthy of their Hlover of both mythology and Dungeons & mythological legends, and thus that's why they are the only Dragons, I always love it when the two intersect. Wizards of three with Mythic traits. You can, of course, also choose to the Coast have already added many iconic mythological run them without their mythic traits if you want them to be a creatures, and allow for use of gods from various real world little bit easier of a fight, because that's the beauty of a Mythic pantheons, but even so, there are some monsters they're trait. missing that are just too awesome to not have in the greatest roleplaying game of all time! CAUTION: Not playtested I feel that it is important for me to warn all who think about How to use this book using these monsters that most of these monsters have never Well to be honest, you can use this in any way that you want! actually been used in a combat setting. -
Elder Futhark Rune Poem and Some Notes RYKHART: ODINSXRAL
Elder Futhark Rune Poem and some notes RYKHART: ODINSXRAL Dedication Mysteries ancient, Allfather found Wrested from anguish, nine days fast bound Hung from the world tree, pierced by the spear Odin who seized them, make these staves clear 1 Unless otherwise specified, all text and artwork within ELDER FUTHARK RUNE POEM and some notes RYKHART: ODINSXRAL are copyright by the author and is not to be copied or reproduced in any medium or form without the express written permission of the author Reikhart Odinsthrall both Reikhart Odinsthrall and RYKHART: ODINSXRAL are also both copyright Dec 31, 2013 Elder Futhark Rune Poem by Reikhart Odinsthrall is licensed under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. Based on a work at http://odinsthrall.co.uk/rune-poem.html. 2 F: Fehu : Cattle / Wealth Wealth is won and gold bestowed But honour's due to all men owed Gift the given and ware the lord For thy name's worth noised abroad U: Uruz : Aurochs / Wild-ox Wild ox-blood proud, sharp hornéd might On moorland harsh midst sprite and wight Unconquered will and fierce in form Through summer's sun and winter's storm X: Thurisaz : Thorn / Giant / Thor Thorn hedge bound the foe repelled A giant's anger by Mjolnir felled Thor protect us, fight for troth In anger true as Odin's wrath A: Ansuz : As / God / Odin In mead divine and written word In raven's call and whisper heard Wisdom seek and wise-way act In Mimir's well see Odin's pact R: Raidho : Journey / Carriage By horse and wheel to travel far Till journey's -
YGGDRASIL Means ,, the Fearsome Tree’’
YGGDRASIL means ,, The Fearsome Tree’’. This gigantic ash tree projects the whole world. 1. The branches of the tree spread over the world and come down to the sky. The World Tree is divided into sections or rather in 9 worlds. Gods, elves, hobs and various animals are living there. As well there is a sun system. This tree was created out of Ymir’s dead body. Ymir was a giant. All the Nordic peoples believed in this world view. ________________________________________ Yggdrasil According to the Norse mythology the ash tree Yggdrasil connects with his branches the nine worlds, born from the sacrifice of Ymir. These worlds are Ásaheimr, world of the Aesir, Álfheimr, world of the elves, Miξgarξr, world of the human beings, Jötunheimr, world of the giants, Vanaheimr, world of the Vanir, Niflheimr, world of ice or of the fog, Múspellheimr, world of fire, Svartálfaheimr, world of the dark elves and of the dwarfs and Helheimr, world of the deads. These nine worlds build the entire universe. Yggdrasil is a huge tree. It immerses into the underworld and on the surface its branches sustain the vault of heaven. It rests on its three roots. One root for the gods (according to other sources: for the human beings), an other one for the giants an the third one reaches Niflheimr. From this last root rises the source with the name of Hvergelmir from here leave all the rivers of the world. Beside this one there are two other sources near the base of Yggdrasil: first of all Mimir, in which science is hidden. -
The Impact of Ancient Armenian Traditions
THE IMPACT OF ANCIENT ARMENIAN TRADITIONS AND WORLDVIEW ON THE COGNITIVE CORE OF NORDIC CULTURE Professor Vahanyan G.A., PhD in Art History Vahanyan V.G., PhD student at the Chair of Linguistics and Intercultural Communications Baghdasaryan V.F. Contents Introduction Methodology The Armenian Origins of Norse Toponyms and the Yngling Dynasty Linguistic Affinity The Armenian Patriarchs and Sages – the Heroes in Norse Myths and the Forefathers of Konungs The Armenian Rock Art and the Nordic Runes The Armenian Rock Art, Vishapakars and Nordic Dragon- and Cross-Stones The Armenian Rock Art and the Signs of Cultures of Old Europe (Starcevo and Vinca) The Tree of Life and the Tree of the Knowledge of Good and Evil Ships, Seagoing Vessels and Boats, Skíðblaðnir Transgression of the Caspian Sea Mountains and Kurgans/Tumuli Mythological Motifs, Agriculture and Hunting Scenes, Animal Species (Horses, Snakes/Serpents, Fish), Weapons, Astronomical Symbols and Observatories Conclusion References Key words: worldview, cognitive core of civilization, rock art, Armenian and Norse mythological and historical heroes, the Aesir and the Vanir, Runes, dragon stones, cross-stones, konungs, the Ynglings, cultural and linguistic picture of the world. Introduction The historians refer to the records on the origin or genesis of the world civilizations, analyzing individually the given archaeological data, the processes and language of the indigenous population. More frequently, the data is incomplete and wide open to criticism. Human thought formation is based not only on the categories and units of a particular language, but rather on the universal content structures of logical and figurative thinking in their constant interaction and reciprocal influence. -
Influences of Pre-Christian Mythology and Christianity on Old Norse Poetry
Infl uences of Pre-Christian Mythology and Christianity on Old Norse Poetry NORTHERN MEDIEVAL WORLD EDITORIAL BOARD Carolyne Larrington (Chair) St. John’s College, Oxford Oren Falk Cornell University Dawn Hadley University of Sheffi eld Jana Schulman Western Michigan University Jón Viðar Sigurðsson Universitetet i Oslo Medieval Institute Publications is a program of Th e Medieval Institute, College of Arts and Sciences WESTERN MICHIGAN UNIVERSITY Infl uences of Pre-Christian Mythology and Christianity on Old Norse Poetry A Narrative Study of Vafþrúðnismál Andrew McGillivray Northern Medieval World MEDIEVAL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2018 Walter de Gruyter GmbH, Berlin/Boston Library of Congress Cataloging-in-Publication Data are available from the Library of Congress. ISBN: 9781580443357 eISBN: 9781580443364 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in, or introduced into a retrieval system, or trans- mitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Contents Abbreviations vii Acknowledgments ix 1. Vafþrúðnir Who? 1 2. Critical Contexts 25 3. At Home in Ásgarðr 53 -
The Meanings of Elf and Elves in Medieval England
The Meanings of Elf and Elves in Medieval England Alaric Timothy Peter Hall Submitted for the degree of Ph.D. Department of English Language, University of Glasgow October, 2004 1 The Meanings of Elf and Elves in Medieval England Abstract Alaric Timothy Peter Hall This thesis investigates the character and role of non-Christian belief in medieval societies, and how we can reconstruct it using written sources. It focuses on Anglo-Saxon culture, contextualising Anglo-Saxon material with analyses of Middle English, Older Scots, Scandinavian and Irish texts. We lack Anglo-Saxon narratives about elves (ælfe, singular ælf), but the word ælf itself is well-attested in Old English texts. By analysing these attestations, it is possible to discover much about the meanings of the word ælf— from which, I argue, it is possible to infer what ælfe were believed to be and to do, and how these beliefs changed over time. Using methodologies inspired by linguistic anthropology (discussed in Chapter 1), I develop these analyses to reconstruct the changing significances of non-Christian beliefs in medieval English-speaking societies, affording new perspectives on Christianisation, health and healing, and group identity, particularly gendering. The body of the thesis, chapters 2–9, is in three parts. Because of its historiographical prominence in discussions of Anglo-Saxon non-Christian beliefs, I begin in Chapter 2 by reassessing Scandinavian comparative evidence for elf-beliefs. I also show that it is possible to correlate the meanings of Old Norse words for supernatural beings with other Scandinavian mythological sources for world-views, providing a case-study supporting similar approaches to Anglo-Saxon evidence. -
Heimskringla I
SNORRI STURLUSON HEIMSKRINGLA VOLUME I The printing of this book is made possible by a gift to the University of Cambridge in memory of Dorothea Coke, Skjæret, 1951 Snorri SturluSon HEiMSKRINGlA VOLUME i tHE BEGINNINGS TO ÓlÁFr TRYGGVASON translated by AliSon FinlAY and AntHonY FAulKES ViKinG SoCiEtY For NORTHErn rESEArCH uniVErSitY CollEGE lonDon 2011 © VIKING SOCIETY 2011 ISBN: 978-0-903521-86-4 The cover illustration is of the ‘Isidorean’ mappamundi (11th century), of unknown origin, diameter 26 cm, in Bayerische Staatsbibliotek, Munich, Clm 10058, f. 154v. It is printed here by permission of Bayerische Staatsbibliothek. East is at the top, Asia fills the top half, Europe is in the bottom left hand quadrant, Africa in the bottom right hand quadrant. The earliest realisations of Isidore’s description of the world have the following schematic form: E ASIA MEDITERRANEUM N TANAIS NILUS S EVROPA AFRICA W Printed by Short Run Press Limited, Exeter CONTENTS INTRODUCTION ................................................................................ vii Authorship ...................................................................................... vii Sources ............................................................................................. ix Manuscripts ....................................................................................xiii Further Reading ............................................................................. xiv This Translation ............................................................................