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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 ................................. -
This Answer Isn't Killing, but the Gaullic Figure Brut Visited the Island Of
Round 01: This answer isn’t killing, but the Gaullic figure Brut visited the Island of Leogrecia after performing this action on a white hart. One god who did this to himself was the god of the following domains: sunsets, rebirths, jewelry, and flowers. That god did this to himself so corn could be grown. One animal that had this done to it was tossed into a weaving chamber. Another figure to suffer this fate is unable to turn his instrument upside down and was judged by the Muses against Apollo. For 10 points, name this act inflicted upon Marsyas, the process of removing the epidermis from a person. ANSWER: flaying [accept word forms, accept removal of skin or equivalents, such as skinning] Round 02: At his death, he was put into a mound with three doors, through which peasants offered gold, silver and copper. No one speaks to this figure, nor does he eat or sleep because he did the following action: while overlooking all the worlds, he looked north and saw a beautiful lady that lifts her arms up to irradiate the sky and the sea with a sensuous light. This figure’s father-in-law is married to Aurboda, and is named Gymir. Because he entrusted his sword and his horse to his servant Skirnir, he defeated the giant Beli using only an antler. He will be killed by the fire giant Surt. The owner of the folding ship Skidbladnir and the boar Gullinbursti, for 10 points, name this son of Skadi and Njord, a fertility god. -
The Prose Edda
THE PROSE EDDA SNORRI STURLUSON (1179–1241) was born in western Iceland, the son of an upstart Icelandic chieftain. In the early thirteenth century, Snorri rose to become Iceland’s richest and, for a time, its most powerful leader. Twice he was elected law-speaker at the Althing, Iceland’s national assembly, and twice he went abroad to visit Norwegian royalty. An ambitious and sometimes ruthless leader, Snorri was also a man of learning, with deep interests in the myth, poetry and history of the Viking Age. He has long been assumed to be the author of some of medieval Iceland’s greatest works, including the Prose Edda and Heimskringla, the latter a saga history of the kings of Norway. JESSE BYOCK is Professor of Old Norse and Medieval Scandinavian Studies at the University of California, Los Angeles, and Professor at UCLA’s Cotsen Institute of Archaeology. A specialist in North Atlantic and Viking Studies, he directs the Mosfell Archaeological Project in Iceland. Prof. Byock received his Ph.D. from Harvard University after studying in Iceland, Sweden and France. His books and translations include Viking Age Iceland, Medieval Iceland: Society, Sagas, and Power, Feud in the Icelandic Saga, The Saga of King Hrolf Kraki and The Saga of the Volsungs: The Norse Epic of Sigurd the Dragon Slayer. SNORRI STURLUSON The Prose Edda Norse Mythology Translated with an Introduction and Notes by JESSE L. BYOCK PENGUIN BOOKS PENGUIN CLASSICS Published by the Penguin Group Penguin Books Ltd, 80 Strand, London WC2R 0RL, England Penguin Group (USA) Inc., -
Bride of Portable Hole: the Book of Neurotic Fantasy
BrideBride ofof PorPortabletable HoleHole TThhee BBooookk ooff NNeeuurroottiicc FFaannttaassyy ChainmailChainmail Bikinis!Bikinis! PrestigelessPrestigeless Classes!Classes! WeaPuns!WeaPuns! BeaverBeaver hunting!hunting! and the return of the Flumphinomicon,Flumphinomicon, Poodlemancy,Poodlemancy, BEER,BEER, Orcs,Orcs, andand PIE!PIE! this page intentionally left blank TheThe BookBook ofof NeuroticNeurotic FantasyFantasy CREDITS TABLE OF CONTENTS Written by M Jason Parent & Denise Robinson with d200 Result Chad Barr, Arthur Borko, Leonard “Half-Mad” Briden, Cameron “Fitz” Burns, Matt B Carter, Mike Chapin, Michael 00 Cover Dallaire, Mike “Ralts” Downs, Danny S Dyche, Horacio 01 Credits & Table of Contents Gonzales, Gareth Hanrahan, Brannon Hollingsworth, Neal 02-003 Introductions Levin, Peter Lustig, Joe Mucchiello, Shawn “Zanatose” 04-005 Eric and the Dread Gazebo Muder, Ryan Nock, Hong Ooi, M Jason Parent, Darren 06-442 Prestigeless Classes Pearce, Stefan Pietraszak, Charles Plemons III, Johnathan M. 44-552 Feats Richards, Chris Richardson, Chrystine Robinson, Geneviève 54-778 Encounters Robinson, W. Shade, John Henry Stam, Samuel Terry, Beau 54-60 Return to the Orc & the Pastry Yarbrough, Zjelani 61-66 Revenge of the Orc & the Pastry 67-68 Lost Penguin Colony 69-71 Himover, Poodlemancer 72-75 Elemental Plane of Candy Illustrations by 76-77 Deus Ex Machina Tony ìSquidheadî Monorchio 78-1101 Monsters 78-85 Flumphonomicon with 86-94 Monsters of the Metagame Matthew Cuenca, Johnathan Fuller, J.L.Jones, Kayvan Koie, 95-101 Templates Frank -
THE MAGIC APPLES Chapter Five IT Is Not Very Amusing to Be a King
THE MAGIC APPLES Chapter Five IT is not very amusing to be a king. Father Odin often grew tired of sitting all day long upon his golden throne in Valhalla above the heavens. He wearied of welcoming the new heroes whom the Valkyries brought him from wars upon the earth, and of watching the old heroes fight their daily deathless battles. He wearied of his wise ravens, and the constant gossip which they brought him from the four corners of the world; and he longed to escape from every one who knew him to some place where he could pass for a mere stranger, instead of the great king of the Æsir, the mightiest being in the whole universe, of whom every one was afraid. Sometimes he longed so much that he could not bear it. Then—he would run away. He disguised himself as a tall old man, with white hair and a long, gray beard. Around his shoulders he threw a huge blue cloak, that covered him from top to toe, and over his face he pulled a big slouch hat, to hide his eyes. For his eyes Odin could not change—no magician has ever learned how to do that. One was empty; he had given the eye to the giant Mimer in exchange for wisdom. Usually Odin loved to go upon these wanderings alone; for an adventure is a double adventure when one meets it single-handed. It was a fine game for Odin to see how near he could come to danger without feeling the grip of its teeth. -
Dragon Magazine #100
D RAGON 1 22 45 SPECIAL ATTRACTIONS In the center: SAGA OF OLD CITY Poster Art by Clyde Caldwell, soon to be the cover of an exciting new novel 4 5 THE CITY BEYOND THE GATE Robert Schroeck The longest, and perhaps strongest, AD&D® adventure weve ever done 2 2 At Moonset Blackcat Comes Gary Gygax 34 Gary gives us a glimpse of Gord, with lots more to come Publisher Mike Cook 3 4 DRAGONCHESS Gary Gygax Rules for a fantastic new version of an old game Editor-in-Chief Kim Mohan Editorial staff OTHER FEATURES Patrick Lucien Price Roger Moore 6 Score one for Sabratact Forest Baker Graphics and production Role-playing moves onto the battlefield Roger Raupp Colleen OMalley David C. Sutherland III 9 All about the druid/ranger Frank Mentzer Heres how to get around the alignment problem Subscriptions Georgia Moore 12 Pages from the Mages V Ed Greenwood Advertising Another excursion into Elminsters memory Patricia Campbell Contributing editors 86 The chance of a lifetime Doug Niles Ed Greenwood Reminiscences from the BATTLESYSTEM Supplement designer . Katharine Kerr 96 From first draft to last gasp Michael Dobson This issues contributing artists . followed by the recollections of an out-of-breath editor Dennis Kauth Roger Raupp Jim Roslof 100 Compressor Michael Selinker Marvel Bullpen An appropriate crossword puzzle for our centennial issue Dave Trampier Jeff Marsh Tony Moseley DEPARTMENTS Larry Elmore 3 Letters 101 World Gamers Guide 109 Dragonmirth 10 The forum 102 Convention calendar 110 Snarfquest 69 The ARES Section 107 Wormy COVER Its fitting that an issue filled with things weve never done before should start off with a cover thats unlike any of the ninety-nine that preceded it. -
A Handbook of Norse Mythology
A HANDBOOK OF NORSE MYTHOLOGY BY KARL MORTENSEN DOCTOR OF PHILOSOPHY UNIVERSITY OF COPENHAGEN ; ADJUNCT AT THE CATHEDRAL SCHOOL (ROYAL GYMNASIUM) AT ODENSB TRANSLATED FROM THE DANISH BY A. CLINTON CROWELL ASSOCIATE PROFESSOR IN BROWN UNIVERSITY 1 ' , . * ' ' - r , * - . l I I . , NEW YORK THOMAS Y. CROWELL COMPANY PUBLISHERS THE NEW YORK PUBLIC LIBRARY COPYRIGHT, 1913, BY THOMAS Y. CROWELL COMPANY. Published March, 1913. This compilation © Phoenix E-Books UK AUTHOR'S PREFACE THIS popular presentation of the myths and sagas which took shape here in the North but whose foundation is common property of all the people who speak a Gothic-Germanic language, first appeared in 1898 and has been used since then in the study of Xorse Mythology in the high schools and universities of all the Scandina- vian countries. Since Professor Crowell has thought that the little book might also achieve a modest success in the youngest but richest and.mosi powerful branch which has grown iron, cur ccmin-on >;uot, I have without hesitation, accopte^ his friendly pro- posal to transjate.jc into English. I find r great satisfaction m, hav -;ig my work put into the world's most comprehensive lan- guage and placed before students in the United States, where I have so many friends, where so many relatives and fel- low-countrymen have found a home and a iii iv AUTHOR'S PREFACE future, and toward which country we Northerners look with the deepest admira- tion and respect for the mighty forces which are seeking to control material things and to break new ground in the infinite realms of the intellect. -
Skírnismál Helgileikar
Skírnismál helgileikar handrit handa börnum á íslenzku & in English a script for bairns ritual performance The Edda-poem Skírnismál is - as abyss of understanding - all about pure spirituality found in our reverent forefathers‘ knowledge our most precious ancient heritage ISBN 978 9935 409 83 6 Guðrún Kristín Magnúsdóttir Göia goði Óðsmál, http://www.odsmal.org [email protected] [email protected] Norræn menning, fræðasetur kt 550199-3009 non-profit cultural enterprise phones +354 5528080 gsm+354 6941264 research on allegory and symbolic language in Heathenry -- no intermediary-profit -- lowest possible prices for marvellous books by a rewarded author Amazon - books search Óðsmál / or Odsmal - educational material supported by Ministry of Education in Iceland for more books, search freyjukettir http://www.Youtube.com/goiagodi The abyss and pure wisdom contained in Heathenry revealed, symbolic language, allegory, metaphores, in Norse Mythology. Skírnismál - How to Perform and Understand the Ritual http://www.youtube.com/watch?v=2y5wAoBKUAE and also; Edda Poem Þrymskviða https://www.youtube.com/watch?v=bd36sEtq7Q4&feature=youtu.be SKÍRNISMÁL A script for bairns and grown-ups. Helgileikar (solemn ritual merry performance) at yule-tide /winter solstice, or any time, at blót, and feasts, at home, in an odeum, in school, and out in Nature, on any special event. THE SONG OF SKIRNIR A POEM FROM EDDA Our quest is to give the whole world a profound understanding of the beautiful, many thousand years old culture of our reverent, whole-hearted, earnest, intelligent, intuitive, peaceful, ethical, spirituallly minded, heathen/pagan ancestors. We should understand heathen yule, or winter-solstice, when days start to grow longer -- the sun rising low on the southern sky, the days very short. -
Year 7: Myths and Legends Home Pack
Year 7: Myths and Legends home pack Name: Form: Teacher: School week 7 W.C. 02.11.2020 Lesson 1: This week, you are going to look at the introduction of the human hero. Previously to this, our focus has been on characters who are Gods or part of the supernatural in some way. What is a hero? How many examples can you give of a hero? • • • • • • Below are Propp’s character conventions. These are characters you can expect to see in a traditional adventure story and what their role is. How do you think the heroic figure has changed over time? Think about what the Greek expectations were, then Roman and what we are familiar with today. Greek Roman Modern In the past, we have looked at heroes as masculine figures. Do you think this is still relevant today? Do we expect heroes to be masculine? Explain your thinking. Why is it important to have a human hero? How does it impact the story and the reader’s relationship with it? Lesson 2: What are the purpose of the following characters, according to Propp’s conventions. Do this from memory first and then you can look back to complete any that are missing. Hero – Villain – Doner – Helper – Princess – Dispatcher – Princess’ father – False hero - Read ‘The Sword in the Stone’. Does it fit any of the seven basic plots? Which one and why? How is Arthur presented as a heroic character? Use the questions below to help you: What is Arthur like? Arthur is presented as a heroic character as he is… How does the text show us this? This is shown when… The Sword in the Stone Our story begins in the fifth century with King Uther who reigned in the south of Britain. -
Magical Music in Old Norse Literature
BRITT-MARI NÄSSTRÖM Magical Music in Old Norse Literature No society ever existed without performing music, and most cultures dis- play many variants of music. Music also played and still plays an impor- tant part in different religious rites. From the days of yore, music has been intimately connected with the cult, whether it is performed as epic or lyric expressions. The Old Norse society was no exception to this statement and early finds from as far back as the Bronze Age reveal that different instrument were used in daily life. The most conspicuous specimens from this time are the bronze lures, which probably are depicted on the rock-carvings. They were made in two different ways — a simpler model made in the shape of a big horn and a more elaborate one made as a big S, which seems to appear in pairs: one curved to the left and the other to the right. Their size varied from 50 cm to more than 200 cm. (Jacobsson 1975: 7). Modern musicians have manageded to produce five notes on the bigger ones, but it is uncer- tain whether the lures were used to play melodies. The practice of blowing one note for where two or more horn players replaced each other in a relig- ious ritual has been suggested as a possible use of these huge bronze lures. (Lund 1994: 26-27). The great bronze shields from the same period seem to belong to the ritual ceremonies, of which we know hardly nothing. Accord- ing to one hypothesis, these were used as drums, but since ceremonial swords and axes also appear among these finds, it is also conjectured that the weapons could have been used in a ritual war dance. -
Beasts-Of-War
Beasts of War and Men of War A philological and archaeological interdisciplinary study regarding the imagery of beasts in war and warriors. Viking and Medieval Studies Master thesis in VMS4190 - Master’s thesis in Viking and Medieval Studies 60 Credits Daniel Ortensi Giner Spring semester 2020 Department of Linguistics and Scandinavian Studies (ILN), University of Oslo Summary The aim of this master thesis is to identify the impact of animals in the imagery of the societies in the Scandinavian Iron Age and the Viking age through written and archaeological sources. The figure of the animal is established in three levels and I will address them and the impact it had on the aforementioned societies, the animal itself, the beasts of war the savage warriors and the imagery of the animal in the context of savage warriors who used such imagery. The analysis of the animals and beasts of war is important to understand the further roles that they carried. Then we would proceed to the analysis of the savage warriors that used a relationship with animals, this would be mostly the Berserkr and the Úlfheðnar, which are very present in the literary corpus. Then, an analysis of the animal in the archaeological sources gives us another perspective which will add consistency to this study. This provided some interesting results which would be interesting to keep working on, such as the possibility of different warrior ranks or status that are identifiable through the analysis of the animals. 1 Foreword I would like to thank many people, first of all my supervisors Mikael Males and Vibeke Maria, who without whom I would have been unable to proceed with this study and have given me so much recommendations and had so much patience that I have nothing but words of thanks. -
Pathfinder Module: the Moonscar
he oonscar CREDITS Author • Richard Pett Cover Artist • Jorge Fares Cartography • Robert Lazzaretti Interior Artist • Tyler Walpole Creative Director • James Jacobs Managing Editor • F. Wesley Schneider Development • Mark Moreland Editing • Judy Bauer, Logan Bonner, and Christopher Carey Editorial Assistance • Jason Bulmahn, Adam Daigle, Rob McCreary, Stephen Radney-MacFarland, Patrick Renie, Sean K Reynolds, and James L. Sutter Editorial Intern • Jerome Virnich Senior Art Director • Sarah E. Robinson Graphic Designer • Andrew Vallas Production Specialist • Crystal Frasier Publisher • Erik Mona Paizo CEO • Lisa Stevens Vice President of Operations • Jefrey Alvarez Director of Sales • Pierce Watters Finance Manager • Christopher Self StafAccountant • Kunji Sedo Technical Director • Vic Wertz Senior Sotware Developer: Gary Teter Campaign Coordinator • Mike Brock Customer Service Team: Cosmo Eisele, Erik Keith, and Sara Marie Teter Warehouse Team: Will Chase, Michael Kenway, Matt Renton, Jef Strand, and Kevin Underwood Website Team: Ross Byers, Liz Courts, Lissa Guillet, and Chris Lambertz The Moonscar is a Pathinder Module designed fo r fo ur 16th-level characters and uses the medium XP advancement track. This module is designed fo r play in the Pathinder campaign setting, but can easily be adapted fo r use with any world. This product makes use of the Patinder RPG Core Rulebook, Patinder RPG Advanced Player's Guide, Patinder RPG Bestiary, Pathinder RPG Bestiary z, Pathinder RPG Bestiary 3, and Pathinder RPG GameMastery Guide. These rules can be fo und online as part oft he Pathinder Roleplaying Game Reference Document at paizo.comfprd. This product is compliant with the Open Game License (OGL) and is suitable for use with the Pathinder Roleplaying Game and the 3·5 edition of the world's oldest fantasy roleplaying game.