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Traveling Portals Suspicious Item They Could Find Was His Diary
by a search the secret police had conducted in his house. The only TRAVelING PORTals suspicious item they could find was his diary. Apparently it did not contain enough evidence to take him to prison, and he even got it Mari Lending back. In an artistic rage, and trying to make sure that his personal notes could not be read again by anyone, he burned his diary. The Master and Margarita remained secret even after his death in 1940, and could not be published until 1966, when the phrase became In the early 1890s, the Times of London reported on a lawsuit on the 1 Times ( London ), more frequently used by dissidents to show their resistance to the pirating of plaster casts. With reference to a perpetual injunction June 2, 1892. state regime. In the early nineties, when the KGB archives were partly granted by the High Court of Justice, Chancery Division, it was 2 Times ( London ), opened, his diary was found. Apparently, during the confiscation, announced that “ various persons in the United Kingdom of Great February 14, 1894. the KGB had photocopied the diary before they returned it to the Britain and Ireland have pirated, and are pirating, casts and models ” author. made by “ D. BRUCCIANI and Co., of the Galleria delle Belle Arti, The best guardians are oftentimes ultimately the ones you would 40. Russell Street, Covent Garden ” and consequently severely vio least expect. lated the company’s copyright “ which is protected by statute. ” The defendant, including his workmen, servants, and agents, was warned against “ making, selling, or disposing of, or causing, or permitting to be made, sold, or disposed of, any casts or models taken, or copied, or only colourably different, from the casts or models, the sole right and property of and in which belongs to the said D. -
Vennligblad 21.2
Vennligblad Friendly pages for the ‘friendly people’ of Vennligfolk and their friends 2015 Officers President Sons of Norway Lodge #5-627 for Central Wisconsin, Susan Morton Stevens Point, Whiting and Plover, Wisconsin (715)341-7248 [email protected] VOLUME 22 ISSUE 3 MAI OG JUNI 2015 Vice President Lois Hagen (715)344-7460 [email protected] Treasurer Jerry Ugland (715)343-2717 jersstop@yahoo,com Financial Secretary .I must start this letter with a which is a great location for us. Please contact Arno Morton (715)341-7248 big “thank you” to our mem- me if you still want to sign up for food or work- [email protected] ing at the festival. bers! The positive encour- Secretary agement I have received from Our lodge continues to grow! A big “welcome” Bea Berg so many, your willingness to to Tracy Johnson, and a big “welcome back” to (715)544-4490 [email protected] help in countless ways, the Bob & Birdie Granum who have recently be- sharing of your time and talents, come members of Vennligfolk. Newsletter Editor Marv Lang the new ideas for Vennligfolk At our May 10th meeting my brother, Peter (715)341-3201 many of you have generated, your faithfulness to Johnson, from Nashville, TN will be presenting [email protected] our Lodge, and your patience with me has made a program on “WWII Memorabilia and Memo- Program Directors my new job as president a lot easier. ries.” Peter is formerly from Stevens Point and Joyce Polson & Charlotte Hensler Are you learning a lot about Norwegians and the is now teaching history at a college in the Nash- [email protected] Norwegian culture? I certainly am! The recent ville area. -
The Daylighting of the Stave Church of Borgund 2
THEDAYLIGHTINGOFTHESTAVE CHURCHOFBORGUND KPMANSFIELD UCL Bartlett School of Graduate Studies, Central House, 14 Upper Woburn Place, London WC1H 0NN. Introduction [email protected] The stave churches are Norway’s unique contribution to “the chal- lenge of the medieval church”. [1] (Figure 1). 1. Bugge G. Stave-churches in Norway, How did architecture, structure and daylighting combine to Dreyers Forlag A/S, Oslo (1983) p14. reinforce the liturgy in the early church? This paper attempts to show that the true spirit of Nordic light- ing is to be found in the original medieval church. In winter, a mys- tic quality in the interior, associated with ritual, is achieved when the “weak light is split by roof work and sinks like a dim atmo- sphere into the room”. [2] I demonstrate how“if the door is left open, as it commonly was in summer, then the whole space is lit up”. [3] Figure 1: Borgund stave church (www. Such architecture has been designed to reinforce the religious wondermondo.com/Norway.htm [CC message being conveyed. The daylighting of the church is mod- BY-SA 2.0) ulated by the architecture, itself a manifestation, technically, of a 2. Norberg-Schulz C. Nightlands: Nordic Building. The MIT Press (1996) p80 citing certain set of cultural and social imperatives. The interaction of Hansen M A. Orm go Tyr. (1959) p377. structure, material and texture is a complex one. Why did the mas- 3. Blindheim M. The Stave Church Paint- ter craftsmen who built these churches build them the way they ings: Medieval Art from Norway. -
Yggdrasil and the Stave Church
Volume 31 Number 1 Article 2 10-15-2012 Yggdrasil and the Stave Church G. Ronald Murphy Georgetown University, DC Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Murphy, G. Ronald (2012) "Yggdrasil and the Stave Church," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 31 : No. 1 , Article 2. Available at: https://dc.swosu.edu/mythlore/vol31/iss1/2 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract In this excerpt from his book, Tree of Salvation, Murphy explores how those who introduced Christianity to Scandinavia deliberately adapted and “translated” Norse religious motifs and practices in two parallel ways—through literary works, especially as seen in the Heliand, but also through church art and architecture. In this illustrated essay, we can see how beliefs about Yggdrasil and Ragnarok are incorporated and transformed in the design and ornamentation of the unusual stave churches of Norway. -
Hungarian Archaeology E-Journal • 2021 Spring
HUNGARIAN ARCHAEOLOGY E-JOURNAL • 2021 SPRING www.hungarianarchaeology.hu MEDIEVAL NORWEGIAN WOODEN (STAVE) CHURCHES: BUILT HERITAGE AND PLACES OF MEMORY Kata Szilágyi1 – anette Sand-eriKSen2 Hungarian Archaeology Vol. 10 (2021), Issue 1, pp. 30–40. https://doi.org/10.36338/ha.2021.1.5 This paper focuses on the Norwegian medieval religious buildings called stave churches. The word stave (meaning ‘post, pole’ in Norwegian) derives from the buildings’ post and lintel construction, giving the churches their characteristic style. The structures display a highly developed tradition of wooden Christian buildings, which during the Middle Ages (1050–1500) where the most common in Norway, their number can be estimated at around a thousand. There were probably at least as widespread in other areas (e.g. on the territory of present-day Germany and Russia), but they did not remain in such a large number from the early period. However, the number have declined dramatically, and today only 28 are preserved. The article aims to expand the knowledge of the unique and irreplaceable wooden architecture of the stave churches. Although we consider the wooden churches to be one of the characteristics of Scandinavia tra- ditionally, they mix and carry the influences of other cultures and countries. The heritage and memorial role of wooden churches, as well as the motif of the combination of different architectural and religious elements, represent an interesting comparison to similar phenomena in the Carpathian Basin. Transylvania and especially the Maramureş region are also famous for their wooden churches and the rich carved and painted iconostasis. Keywords: North-Europe, Norway, Middle Age, Stave church, wooden architecture, Nordic style, cultural memory, cultural heritage WHAT ARE STAVE CHURCHES AND WHY ARE THEY SO SPECIAL? In the medieval period, large stone or brick churches where build all over Europe. -
The Mystery of Stave Churches by ADMIN · PUBLISHED OCTOBER 29, 2019 · UPDATED OCTOBER 29, 2019 Seeing Inside Makes All the Difference
From https://www.norwegianamerican.com/heritage/mystery-stave-churches/ The Mystery of Stave Churches BY ADMIN · PUBLISHED OCTOBER 29, 2019 · UPDATED OCTOBER 29, 2019 Seeing inside makes all the difference Photo: Eric Stavney As Eric Stavney and his daughter assembled a cardboard model stave church, they realized that what’s most interesting is found inside. Eric Stavney Mukilteo, Wash. As my daughter and I put the spire on the top roof of our second cardboard stave church, a 1/87 scale model (for model train layouts) you can buy on eBay, we had the same let-down as when we finished the first one: all the cool stuff gets buried inside. The V-shaped trusses, the carved Saint Andrew’s crosses, the stave columns rising up from the flagstones to define the midtrom or nave—you get to see all that as you build it, only to cover it up in darkness by piling on a succession of roofs. We got so frustrated after one model, we even cut away one side so we could peek at the construction inside—like a doll’s house. Indeed, the real charm and mystery of a real stave church is the dark interior. At left: Photo: Eric Stavney Gol Stave Church seen from the outside as it appears today. I recently visited the Gol Stave Church in the Norsk Folkemuseum of Oslo. Gol Stave Church is a curiosity, because it was moved there from Hallingdal, and so lacks that sense of place where it was originally built. But I am thankful to King Oscar II for moving it to what became the Norsk Folkemuseum in Oslo, because now it is easily accessible to visitors like me. -
20155983-NCCPR 2015 Hefte.Indd
nccpr2015.com #NCCPR15 THE 7TH NORDIC CONFERENCE ON CULTURAL POLICY RESEARCH BØ, TELEMARK UNIVERSITY COLLEGE, AUGUST 25TH- 27TH 2015 CULTURAL POLICY BETWEEN CONSERVATION AND CREATION ABSTRACTS NCCPR 2015 The 7th Nordic Conference on Cultural Policy Research August 25th – 27th 2015, Bø, Telemark University College Cultural policy between conservation and creation NCCPR 2015 The 7th Nordic Conference on Cultural Policy Research Bø, Telemark University College http://nccpr2015.com Edited by: Annette Winkelmann Nanna Løkka Ole Marius Hylland Egil Bjørnsen Cover design: Ingrid Holmboe Høibo Annette Winkelmann Sponsors: NCCPR 2015 The 7th Nordic Conference on Cultural Policy Research Welcome Dear participants, Contents Welcome to the 7th Nordic Conference arts are, although often flawed, not new. on Cultural Policy Research – NCCPR However, a deeper approach, both at the 2015! The conference is, as always, open theoretical and empirical level, to how the for papers and panels from across the arts may develop society, is missing. cultural policy spectrum. However, for this Hence, this is the second theme that we Welcome conference the organizers would like to hope will run as a common thread highlight two particular themes more throughout the conference. Organizing Committees closely. Firstly, the study of cultural herit- Practical information age through a cultural policy perspective. As always, the paper sessions will make Keynote Speakers A special issue of The Nordic Journal of space for both younger and more estab- Cultural Policy (Nordisk kulturpolitisk lished scholars. The spirit of the confer- Panels tidsskrift) last year, focusing on cultural ence is inclusive where we share ideas in Papers heritage as cultural policy, brought to the a friendly but critical and constructive en- vironment. -
Through the Portal: Viking Motifs Incorporated in the Pia Romanesque Style in Telemark, Norway
Ødeby, K 2013 Through the Portal: Viking Motifs Incorporated in the pia Romanesque Style in Telemark, Norway. Papers from the Institute of Archaeology, 23(1): 15, pp. 1-19, DOI: http://dx.doi.org/10.5334/ pia.433 RESEARCH PAPER Through the Portal: Viking Motifs Incorporated in the Romanesque Style in Telemark, Norway Kristine Ødeby* This paper presents the results of an analysis of motifs identified on six carved wooden Romanesque portal panels from the Norwegian county of Telemark. The findings suggest that animal motifs in the Late Viking style survived long into the Late Medieval period and were reused on these medieval portals. Stylistically, late expressions of Viking animal art do not differ a great deal from those of the subsequent Romanesque style. However, their symbolical differences are considered to be significant. The motifs themselves, and the issue of whether the Romanesque style adopted motifs from pre-Christian art, have attracted less attention. The motif portraying Sigurd slaying the dragon is considered in depth. It will be suggested that Sigurd, serving as a mediator between the old and the new beliefs when he appeared in late Viking contexts, was given a new role when portrayed in Christian art. Metaphor and liminality are a central part of this paper, and the theories of Alfred Gell and Margrete Andås suggest that the portal itself affects those who pass through it, and that the iconography is meaningful from a liminal perspective. Introduction dition outweighed renovation. Therefore it is The Romanesque style was carved on stave interesting to take a closer look at the use of church portals and other Christian art objects motifs in this new church style - the Roman- in Norway from the 12th century onwards. -
The Expressive Capacity of the Timber Frame
THE EXPRESSIVE CAPACITY OF THE TIMBER FRAME BRIT ANDRESEN School of Geography, Planning and Architecture Faculty of Engineering, Physical Sciences and Architecture University of Queensland QLD 4072, Australia [email protected] Abstract Assembling for the first time a braced, timber frame as a freestanding structure, where no piece could be taken away without collapsing it, was surely a ‘eureka’ moment in architecture. The expressive potential of the timber frame can be argued to have led both to its development as well as to its later transfer and transformation. It is the intention of this paper to present the braced frame of the medieval stave-church as the opportunity for expressing Christian ‘church-like’ qualities in pagan Norway – a part transformation in timber-rich Norway from the established practise of constructing stone churches in the south. Six centuries later ecclesiologists sought medieval examples for the construction of wooden churches in colonial diocese - such as those in Canada and New Zealand where timber was plentiful. Several mid-C19th publications, such as The Reverend William Scott’s paper “On Wooden Churches”, raised awareness among ecclesiologists of the potential of medieval Scandinavian examples to contribute to the transformation of the wooden church in the colonies by transferring ‘church-like’ qualities to the utilitarian ‘god box’. The C19th wooden churches by R.G. Suter in Queensland are innovative examples of an ecclesiastical architecture in timber that takes advantage of the expressive potential of exposing the frame and the use of ‘outside studding’. There are direct transfers of these earlier techniques and technologies through the use of ‘outside studding’ and the exposed timber frame in the work of Andresen O’Gorman Architects. -
Akvarellmaleren Hans Johan Frederik Berg (1813-1874)
Akvarellmaleren Hans Johan Frederik Berg (1813-1874) Fra Nesna til Nilen Hovedfagsavhandling i kunsthistorie Våren 2007 Ann Falahat Institutt for filosofi, idé- og kunsthistorie og klassiske språk Universitetet i Oslo Forord Emnet for denne hovedfagsavhandlingen ble klart for flere år siden mens jeg arbeidet ved Nasjonalgalleriet. Der oppdaget jeg Hans Johan Frederik Berg, en norsk kunstner som har etterlatt seg en rekke arbeider med motiver fra en reise til Egypt i 1849. Jeg hadde lenge interessert meg for orientalistisk kunst, og så for første gang en mulighet til å skrive om orientalisme i en norsk sammenheng. Imidlertid var det flere sider ved Bergs liv og kunst som fortjente en grundigere gjennomgang. Det har ført til en lang og lærerik reise i en egenartet kunstners fotspor. Det er mange som på ulike måter har bidratt til at avhandlingen nå endelig har kommet i havn. Jeg vil trekke frem min veileder Erik Mørstad og mine tidligere kollegaer Marit Ingeborg Lange, Knut Ljøgodt, Møyfrid Tveit og Bodil Sørensen. Takk også til Svein Carstens, Erik Henning Edvardsen, Katja Friedrich, Mai Britt Guleng, Lena Larsen, Svein Laumann og alle hos Kaare Berntsen. Takk til min mann Mohammad Ali Falahat for tålmodighet og orientalsk inspirasjon. En spesiell takk går til Nordnorsk Kunstmuseum ved direktør Anne Aaserud for tilliten som ble vist meg da jeg ble tildelt museets hovedfagsstipend i 2004. Ann Falahat Røyken, april 2007 INNHOLDSFORTEGNELSE Innledning 1 1. Oppvekst og utdannelse 4 - Familieforhold 4 - Unge år og arbeidsliv 5 - Kunstutdannelse 6 2. Portrettmaleren 8 - Portrettet i norsk kunst på Bergs tid 11 - Portrettmaleriet og fotografiet 12 - Tegnelæreren Berg 14 3. -
«Five Centuries» Rare and Imortant Books and Maps the Library of a Norwegian Collector
«FIVE CENTURIES» RARE AND IMORTANT BOOKS AND MAPS THE LIBRARY OF A NORWEGIAN COLLECTOR SPRING 2014 Catalogue number 79 «FIVE CENTURIES» RARE AND IMORTANT BOOKS AND MAPS THE LIBRARY OF A NORWEGIAN COLLECTOR The catalogue 30 of Galleri Bygdøy Allé – Kunstantikvariat PAMA is presented in connection with the opening of the new Gallery in BYGDØY ALLÉ 67 Opening reception May 8th, 2014 at 6 PM And the OLYMPIA BOOK FAIR, LONDON May 22nd – 24th, 2014 Also presented is the catalogue 31 RARE ANTIQUE MAPS INCLUDING A FINE COPY OF HARTMAN SCHEDEL «LIBER CHRONICARUM» IN CONTEMPORARY BINDING. IN ADDITION FOUR LITHOGRAPHS BY FRIDTJOF NANSEN, A PHOTO NEGATIVE OF «FRAM», AND 35 ORIGINAL ILLUSTRATIONS USED BY W.M. CONWAY IN HIS BOOK: «THE FIRST CROSSING OF SPITSBERGEN» Bygdøy Allé 67, 0265 OSLO, Norway • Tlf: (+ 47) 22 44 06 00 • Fax: (+47) 22 44 06 01 E-mail: [email protected] • Internet: www.antiquemaps.no INDEX OF CONTENT THE FIFTEENTH CENTURY, Books and maps c. 1481 - 1493 ............................................................. page 11 THE SIXTEENTH CENTURY, Books and maps 1507 - 1599 ................................................................page 16 THE SEVENTEENTH CENTURY, Books and maps 1607 - 1697 .........................................................page 47 THE EIGHTEENTH CENTURY, Books and maps 1700 – 1794 ............................................................page 70 THE NINETEENTH CENTURY, Books and maps 1801 – 1862 ..........................................................page 122 TERMS AND EXPLANATIONS All items have been carefully described and are guaranteed to be genuine and authentic. The prices are in NOK (Norwegian kroner) all taxes included. As an indication only, the items are also priced in EURO after an approximate exchange rate of 1€ = NOK 8.00 Contemporary hand-coloured: In our opinion, the colouring is approximately contemporary with the date of issue. -
The Remaining Stave Churches and Different Categories
The remaining Stave Churches and different categories Simple Stave Churches: Eidsborg In Eidsborg the characteristic shingles are immediately apparent; the roof, the posts (staves) and pentice are completely clad with shingles. The church has a single, rectangular nave. Originally there was a narrower chancel which has been widened on two separate occasions. Garmo After a new parish church was built in Lom in 1879, Garmo Stave Church was pulled down and later re-constructed at Maihaugen Museum in Lillehammer. From the outside, Garmo Stave Church looks much like it did before it was demolished, but all the fittings and artwork come from other churches. Haltdalen Haltdalen Stave Church stands today at a museum in Trondheim. Parts of the church originate from Ålen Stave Church, while other parts are from Haltdalen. The shape of the building is similar to many Medieval stone churches. The interior is spartan with a simple altar and benches along the sides. It has stylistically been dated to around 1170. Hedalen Hedalen Stave Church probably dates to around 1165. The church was rebuilt in 1699 and became cruciform, the earlier chancel and apse were removed. The church has much of its Medieval decor preserved. The carved Madonna in the church is one of the finest and best- preserved saint figures in the country. Rollag Rollag Stave Church is mentioned in documents from 1425 but there has been a church on the same site long before this. The church got its current appearance in 1760. Rollag was originally a simple post Stave Church but has since been changed in many phases, both in length and height.