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Arv Nordic Yearbook of Folklore 2013 2 3 ARVARV Nordic Yearbook of Folklore Vol 1 Arv Nordic Yearbook of Folklore 2013 2 3 ARVARV Nordic Yearbook of Folklore Vol. 69 Editor ARNE BUGGE AMUNDSEN OSLO, NORWAY Editorial Board Anders Gustavsson, Oslo; Gustav Henningsen, Copenhagen Bengt af Klintberg, Lidingö; Ann Helene Bolstad Skjelbred, Oslo Ulrika Wolf-Knuts, Åbo (Turku) Published by THE ROYAL GUSTAVUS ADOLPHUS ACADEMY UPPSALA, SWEDEN Distributed by SWEDISH SCIENCE PRESS UPPSALA, SWEDEN 4 © 2013 by The Royal Gustavus Adolphus Academy, Uppsala ISSN 0066-8176 All rights reserved Printed with grants from Vetenskapsrådet (Swedish Research Council), Stockholm, Sweden Articles appearing in this yearbook are abstracted and indexed in Historical Abstracts and America: History and Life 1998– Editorial address: Prof. Arne Bugge Amundsen Department of Culture Studies and Oriental Languages University of Oslo Box 1010 Blindern NO–0315 Oslo, Norway phone + 4792244774 fax + 4722854828 e-mail: [email protected] http://www.hf.uio.no/ikos/forskning/publikasjoner/tidsskrifter/arv/index.html Cover: Kirsten Berrum For index of earlier volumes, see http://www.kgaa.nu/tidskrift.php Distributor Swedish Science Press Box 118, SE–751 04 Uppsala, Sweden phone: +46(0)18365566 fax: +46(0)18365277 e-mail: [email protected] Printed in Sweden Textgruppen i Uppsala AB, Uppsala 2013 5 Contents Articles Kirsi Kanerva: “Eigi er sá heill, er í augun verkir.” Eye Pain in Thirteenth- and Fourteenth-Century Íslendingasögur . 7 Bengt af Klintberg: Three Aetiological Tales about Birds: the Swallow, the Diver and the Hazelhen . 37 Magnús Fjalldal: A Scandinavian Link to Sir Gawain and the Green Knight? . 47 Bjørg Kjær: Pedagogical Learning Plans and Children with Special Needs: Transforming and Anchoring – or Maintaining and Negotiating? . 61 Bjarne Rogan: Sigurd Erixon on the Post-War International Scene. International Activities, European Ethnology and CIAP from 1945 to the mid 1950s . 89 Pertti Anttonen: Lost in Intersemiotic Translation? The Problem of Context in Folk Narratives in the Archive . 153 Discussion Terry Gunnell, Elliott Oring, Barbro Klein, John Lindow, Haim Weiss, Ülo Valk, Timothy R. Tangherlini, Fredrik Skott: Why Should Folklore Students Study “Dead” Legends? . 171 Book Reviews Ahlfors, Hans: Julkrubban i Svenska kyrkan (Anders Gustavsson) . 211 Alftberg, Åsa: Vad är det att åldras? (Lene Otto) . 215 Bartens, Hans-Hermann: Wotische Folklore (Bengt af Klintberg) . 216 Bjälesjö, Jonas: Rock’n’ roll i Hultsfred (Sven-Erik Klinkmann) . 218 Bursell, Barbro: William Grey & Brita Tott (Mikkel Venborg Pedersen) . 223 Byrman, Gunilla & Tommy Olofsson: Om kvinnligt och manligt och annat (Camilla Asplund Ingemark) . 224 6 Christiansen, Palle O.: Tang Kristensen og tidlig feltforskning i Danmark (Anders Gustavsson) . 226 Danielson, Eva & Märta Ramsten: Du gamla, du friska (Henrik Karlsson) . 228 Elleström Lars (ed.): Intermediala perspektiv på medeltida ballader (Patrik Sandgren) . 230 Gustavsson, Anders: Bondekultur i möte med akademikerkulturer i Sverige och Norge (Ulrika Wolf Knuts) . 233 Gustavsson, Anders: Cultural Studies on Folk Religion in Scandi- navia (Nils G. Holm) . 234 Henriksen, Jan-Olav & Kathrin Pabst: Uventet og ubedt (Anders Gustavsson) . 235 Kamppinen, Matti & Pekka Hakamies (eds.): The Theory of Culture of Folklorist Lauri Honko 1932–2002 (Anders Gustavsson) . 237 Lönnqvist, Bo: Dödens ansikte (Anders Gustavsson) . 239 Nilsson, Anna: Lyckans betydelse ( Henrik Brissman) . 241 Olsson, Pia: Women in Distress (Irène Flygare) . 242 Rogan, Bjarne & Anne Eriksen (eds.) Etnologi og folkloristikk. En fagkritisk biografi om norsk kulturhistorie (Fredrik Skott) . 247 Savin, Kristiina: Fortunas klädnader (Ulrika Wolf-Knuts) . 248 Skott, Fredrik: Påskkäringar (Bengt af Klintberg) . 251 Östling, Per-Anders: Spöken, medier och astrala resor (Peter Ullgren) . 254 Books Received by the Editor . 259 “Eigi er sá heill, er í augun verkir” 7 “Eigi er sá heill, er í augun verkir” Eye Pain in Thirteenth- and Fourteenth-Century Íslendingasögur1 Kirsi Kanerva Introduction Fóstbræðra saga2 tells of a man called Þormóðr Kolbrúnarskáld who suffers from a pain in his eye (augnaverkr), inflicted upon him by a woman in a dream. The story begins when Þormóðr tries to reinvigorate his earlier friendship with a woman called Þórdís. Prior to this he has visited a woman called Þorbjǫrg kolbrún and has composed and dedicated a poem, the Kol- brúnavísur, to her. Regardless of this, Þormóðr recites the Kolbrúnavísur to Þórdís and modifies the verses so that the words praise Þórdís instead of Þorbjǫrg, the former object of his adoration. The friendship between Þormóðr and Þórdís is renewed, but shortly afterwards: […] then one night when at Laugaból Þormóðr dreamt that Þorbjǫrg came to him and asked whether he was awake or sleeping. He said he was awake. She answers: “You are sleeping, but what will happen to you [in your dream] will befall you when you awake; or have you given that praise poem that you composed to me to another woman?” Þormóðr says: “That is not true.” Þorbjǫrg said: “Surely that is true. You have given my praise poem to Þórdís Grímudóttir and twisted all those verses that belonged to me most [so that they are now dedicated] to her. Now I shall reward you for the breaching of your words and your lies so that you shall suffer from such eye pain that both of your eyes will burst out of your head, unless you make known to all people that it is my poem and call it so always thereafter.” She appeared very angry to him and he thought he saw a glimpse of her as she went away. He wakes up with such a severe pain in his eyes that he could hardly bear it without screaming. In the morning he stayed late in his bed. When all the men had got dressed Bersi [Þormóðr’s father] wonders why Þormóðr sleeps so long, and goes to him and asks if he was ill. Þormóðr says that he had pain in the eyes. Bersi said: “He who has pain in the eyes is not sound.”3 All’s well that ends well, however. Þormóðr’s father then expresses his opinion that nothing can be done unless Þormóðr makes things right and re- turns the poem to its original form. Otherwise, as the father says in the 8 Kirsi Kanerva Mǫðruvallabók version of the text, “both of your eyes will burst out of your head” (bæði augu springi ór hǫfði þér, Fóstbræðra saga: 176–177), or, slightly less dramatically in Hauksbók, “you will lose both your eyes, one before the other” (at þv latir bæði avgvn fyri annari, Hauksbók 1892–1896: 371).4 As a result, Þormóðr Kolbrúnarskáld dedicates the poem to Þorbjǫrg anew, as it originally was, and immediately recovers from his eye disease (Fóstbræðra saga: 177; Hauksbók 1892–1896:372; Flateyjarbók 1862: 155). The excerpt above is one of the instances in medieval Icelandic sagas where eye pain is represented as an illness that could disable the victim by causing the eyes to burst out of the head, as anticipated in Fóstbræðra saga, or cause loss of sight and sometimes even death. In such cases, as in the ex- ample above, the cause of eye pain is sometimes explicitly stated; this ill- ness could be caused by some external power or being that appeared in dreams and inflicted the pain upon its victims.5 However, this type of dream is a departure from the norm in the Íslendingasögur, as dreams usually por- tend future events and are bound up with irreversible fate. The message of these dreams is never in doubt, since they are thought to contain important information about the future. Moreover, dreams always come true. Should the message be hidden behind symbols and allegories, a wise man can inter- pret the dream.6 In Fóstbræðra saga, however, the dream does not bring knowledge of irreversible fate, but acts as a warning, still allowing the re- cipient, that is, the dreamer, to react to it and choose either a good or a bad option: Þormóðr can decide whether he will make things right and become sound again, or whether he will keep on living a lie and suffer the conse- quences, the loss of his eyes. This deviation from the rules raises some questions concerning the con- dition of eye pain and how its causes and consequences were interpreted and understood by medieval Icelanders. With reference to Þormóðr’s rapid re- covery it can be questioned whether eye pain in Íslendingasögur was merely intended to indicate a physical disease,7 or if the phenomenon had other connotations as well. The latter question is raised especially because of the bodily nature of the eye pain, which links the condition to some mental phe- nomena considered physical in medieval Iceland: mental processes, such as emotions, thoughts, understanding and memories, were connected to the mind, which was considered a physical organ in the breast, that is to say, the heart. Mental functions were thus also considered physical processes (Ka- nerva forthcoming).8 This bodily element has been emphasized in earlier studies of emotions in sagas, which have shown that emotions are usually portrayed only in somatic changes, such as blushing and turning pale, or in dialogue (Miller 1992; Miller 1993; Larrington 2001; Kanerva 2012). For this reason it is quite understandable that the inner states of people, what they thought, remembered and felt but did not utter in words or outwardly “Eigi er sá heill, er í augun verkir” 9 reveal as somatic changes, could not be depicted in medieval sagas – unless there existed another way of representing this “unseen”. We may never be certain whether medieval Icelanders regarded eye pain as similar to somatic changes associated with emotions.9 However, somati- zation, that is, ascribing pain and defects to various bodily organs and vis- cerals, has been shown in medical anthropology to be a common means in some cultures to express various negative emotional states and moods that cannot be represented in any other way (Helman 1994:267–271).
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