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1 the Legendary Saga of the Volsungs Cecelia Lefurgy Viking Art and Literature October 4, 2007 Professor Tinkler and Professor E
1 The Legendary Saga of the Volsungs Cecelia Lefurgy Viking Art and Literature October 4, 2007 Professor Tinkler and Professor Erussard Stories that are passed down through oral and written traditions are created by societies to give meaning to, and reinforce the beliefs, rules and habits of a particular culture. For Germanic culture, The Saga of the Volsungs reflected the societal traditions of the people, as well as their attention to mythology. In the Saga, Sigurd of the Volsung 2 bloodline becomes a respected and heroic figure through the trials and adventures of his life. While many of his encounters are fantastic, they are also deeply rooted in the values and belief structures of the Germanic people. Tacitus, a Roman, gives his account of the actions and traditions of early Germanic peoples in Germania. His narration remarks upon the importance of the blood line, the roles of women and also the ways in which Germans viewed death. In Snorri Sturluson’s The Prose Edda, a compilation of Norse mythology, Snorri Sturluson touches on these subjects and includes the perception of fate, as well as the role of shape changing. Each of these themes presented in Germania and The Prose Edda aid in the formation of the legendary saga, The Saga of the Volsungs. Lineage is a meaningful part of the Germanic culture. It provides a sense of identity, as it is believed that qualities and characteristics are passed down through generations. In the Volsung bloodline, each member is capable of, and expected to achieve greatness. As Sigmund, Sigurd’s father, lay wounded on the battlefield, his wife asked if she should attend to his injuries so that he may avenge her father. -
“The Symmetrical Battle” Extended: Old Norse Fránn and Other Symmetry in Norse-Germanic Dragon Lore
The Macksey Journal Volume 1 Article 31 2020 “The Symmetrical Battle” Extended: Old Norse Fránn and Other Symmetry in Norse-Germanic Dragon Lore Julian A. Emole University of Wisconsin-Eau Claire, [email protected] Follow this and additional works at: https://www.mackseyjournal.org/publications Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Classical Literature and Philology Commons, European Languages and Societies Commons, German Linguistics Commons, Indo-European Linguistics and Philology Commons, Medieval Studies Commons, and the Scandinavian Studies Commons Recommended Citation Emole, Julian A. (2020) "“The Symmetrical Battle” Extended: Old Norse Fránn and Other Symmetry in Norse-Germanic Dragon Lore," The Macksey Journal: Vol. 1 , Article 31. Available at: https://www.mackseyjournal.org/publications/vol1/iss1/31 This Article is brought to you for free and open access by The Johns Hopkins University Macksey Journal. It has been accepted for inclusion in The Macksey Journal by an authorized editor of The Johns Hopkins University Macksey Journal. “The Symmetrical Battle” Extended: Old Norse Fránn and Other Symmetry in Norse-Germanic Dragon Lore Cover Page Footnote The title of this work was inspired by Daniel Ogden's book, "Drakōn: Dragon Myth & Serpent Cult in the Greek & Roman Worlds," and specifically his chapter titled 'The Symmetrical Battle'. His work serves as the foundation for the following outline of the Graeco-Roman dragon and was the inspiration for my own work on the Norse-Germanic dragon. This paper is a condensed version of a much longer unpublished work, which itself is the product of three years worth of ongoing research. -
Herjans Dísir: Valkyrjur, Supernatural Femininities, and Elite Warrior Culture in the Late Pre-Christian Iron Age
Herjans dísir: Valkyrjur, Supernatural Femininities, and Elite Warrior Culture in the Late Pre-Christian Iron Age Luke John Murphy Lokaverkefni til MA–gráðu í Norrænni trú Félagsvísindasvið Herjans dísir: Valkyrjur, Supernatural Femininities, and Elite Warrior Culture in the Late Pre-Christian Iron Age Luke John Murphy Lokaverkefni til MA–gráðu í Norrænni trú Leiðbeinandi: Terry Gunnell Félags- og mannvísindadeild Félagsvísindasvið Háskóla Íslands 2013 Ritgerð þessi er lokaverkefni til MA–gráðu í Norrænni Trú og er óheimilt að afrita ritgerðina á nokkurn hátt nema með leyfi rétthafa. © Luke John Murphy, 2013 Reykjavík, Ísland 2013 Luke John Murphy MA in Old Nordic Religions: Thesis Kennitala: 090187-2019 Spring 2013 ABSTRACT Herjans dísir: Valkyrjur, Supernatural Feminities, and Elite Warrior Culture in the Late Pre-Christian Iron Age This thesis is a study of the valkyrjur (‘valkyries’) during the late Iron Age, specifically of the various uses to which the myths of these beings were put by the hall-based warrior elite of the society which created and propagated these religious phenomena. It seeks to establish the relationship of the various valkyrja reflexes of the culture under study with other supernatural females (particularly the dísir) through the close and careful examination of primary source material, thereby proposing a new model of base supernatural femininity for the late Iron Age. The study then goes on to examine how the valkyrjur themselves deviate from this ground state, interrogating various aspects and features associated with them in skaldic, Eddic, prose and iconographic source material as seen through the lens of the hall-based warrior elite, before presenting a new understanding of valkyrja phenomena in this social context: that valkyrjur were used as instruments to propagate the pre-existing social structures of the culture that created and maintained them throughout the late Iron Age. -
Old Norse Mythology and the Ring of the Nibelung
Declaration in lieu of oath: I, Erik Schjeide born on: July 27, 1954 in: Santa Monica, California declare, that I produced this Master Thesis by myself and did not use any sources and resources other than the ones stated and that I did not have any other illegal help, that this Master Thesis has not been presented for examination at any other national or international institution in any shape or form, and that, if this Master Thesis has anything to do with my current employer, I have informed them and asked their permission. Arcata, California, June 15, 2008, Old Norse Mythology and The Ring of the Nibelung Master Thesis zur Erlangung des akademischen Grades “Master of Fine Arts (MFA) New Media” Universitätslehrgang “Master of Fine Arts in New Media” eingereicht am Department für Interaktive Medien und Bildungstechnologien Donau-Universität Krems von Erik Schjeide Krems, July 2008 Betreuer/Betreuerin: Carolyn Guertin Table of Contents I. Abstract 1 II. Introduction 3 III. Wagner’s sources 7 IV. Wagner’s background and The Ring 17 V. Das Rheingold: Mythological beginnings 25 VI. Die Walküre: Odin’s intervention in worldly affairs 34 VII. Siegfried: The hero’s journey 43 VIII. Götterdämmerung: Twilight of the gods 53 IX. Conclusion 65 X. Sources 67 Appendix I: The Psychic Life Cycle as described by Edward Edinger 68 Appendix II: Noteworthy Old Norse mythical deities 69 Appendix III: Noteworthy names in The Volsung Saga 70 Appendix IV: Summary of The Thidrek Saga 72 Old Norse Mythology and The Ring of the Nibelung I. Abstract As an MFA student in New Media, I am creating stop-motion animated short films. -
Posta Stamps Nr. 12
Stamps Faroe Islands No. 12 April 2012 ISSN 1603-0036 Four new Stamp Issues Franking labels 2012 Stamp of the year 2011 Regin the blacksmith Grani brought gold from the moor Sigurd hews his sword in anger. Sigurd slayed the serpent Grani brought gold from the moor. FO 739-44 Test proof All cultures contain echoes of mythical cultural but before he dies, he tells Hjørdis that she carries events - some kind of archetypal reflection of our a boy-child under her belt, who shall avenge his ancestors' imagination - their culture, ideals, beli- death. He gives Hjørdis his broken sword and tells efs and attempts to explain the coherence of the her about Regin the Smith, who can repair it, and Universe, both the spiritual and the tangible level. about the great serpent Frænir, who resides out on Glitra-heath. One of these recurring cultural events in European culture is the vision of the mythical dragon slayer. When Sigmund is dead and buried, Hjørdis mar- He appears in many shapes and under different ries King Hjalprek - and nine months later she names, but the essence of the stories is the cul- gives birth to a healthy boy whom she calls Sjúrður tural hero who, despite poor odds, kills the great (Sigurd). Sigurd grows up in Hjálprek’s realm and dragon or serpent in the mythical landscape. becomes a strong and healthy young man, but has troubles controlling his immense strength and In Faroese culture, we find the dragon slayer in the anger. One day when he accidently injures and large and ancient ballad known as the "Sjúrðark- kills some of his mates at weapons training, the væði". -
Fafnir, from the Icelandic Volsunga Saga Hreidmar, Who Was the King
Fafnir, from the Icelandic Volsunga Saga Hreidmar, who was the King of the Dwarf People, had three sons. Fafnir was the eldest and he was gifted with a fearless soul and a powerful arm. The second son, Otr, was a shape-shifter, and then there was Regin who built a house of gold to please his father. No-one dared to approach Fafnir because of his fierce glances and Ægis helmet. His fearsome appearance was one of the reasons he guarded the gold house of his father. One day, something terrible happened. Odin and Loki were walking by a stream in Midgard, one of the nine worlds of Yggdrasil, the sacred tree of life in Norse mythology. Trickster God Loki killed an otter and flung it over his shoulder. What he did not know was that, being something of a magician, Otr often took the form of an otter during the day. The gods continued their journey until they came to the house of Hreidmar, whom they asked for shelter for the night. At first Hreidmar was welcoming enough, but when he saw the otter, he shouted in rage and grief, for the dead creature was his son. Hreidmar summoned his other two sons, Regin and Fafnir. Then, with his magic spells, he disarmed the gods and bound them. Odin told Hreidmar that he and his companions would pay whatever ransom he asked. Hreidmar and his sons demanded that the otter’s skin should be stuffed with gold treasures. Loki, the most cunning of the gods, went straight to the place where he had killed the otter and stared down into the water. -
Panel 4 a Viking Legend
A Viking Legend: The Power of Love By Ainsley Bloomer Background, Contents & Introduction Appendix and Genealogical Chart First and Last Pages of Annotated Index, Sources Page The Ramsund carving in Södermanland, Sweden, dated to the 11th-century CE. A diagram of the carvings, created by anonymous, published 22 February 2021. (https://www.ancient.eu/image/13465/the-ramsund-runestone/) (https://www.ancient.eu/image/13465/the-ramsund-runestone/) 1. Sigurd sitting naked in front of the fire preparing the heart of the dragon Fafnir for his foster-father Regin, who is Fafnir’s brother. When Sigurd touches it, he burns himself and sticks his finger into his mouth. As he has tasted dragon blood, he starts to understand the birds’ song. 2. The birds saying that Regin will try to kill Sigurd, which causes Sigurd to cut off Regin’s head. 3. Regin lying dead beside his own head, his smithing tools with which he reforged Sigurd’s sword Gram scattered around him. 4. Sigurd’s horse Grani laden with the dragon’s treasure. 5. Sigurd’s previous killing of Fafnir. 6. Regin’s and Fafnir’s brother Ótr 1 5 Sigurd Portal Door (www.pitt.edu/~dash/sigurddoor.html) 1. Gunnar in the snake pit playing 2 the harp with his toes 2. Sigurd killing Regin 3. Sigurd’s horse Grani holding the 6 chest of treasures, also shows the birds that spoke to Sigurd. 4. Sigurd roasting the dragon heart, searing his finger and putting it in his mouth to heal when juices from the dragon heart permit him to understand the speech of the birds 3 4 Sigurd 7 5. -
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. -
From Iron Age Myth to Idealized National Landscape: Human-Nature Relationships and Environmental Racism in Fritz Lang’S Die Nibelungen
FROM IRON AGE MYTH TO IDEALIZED NATIONAL LANDSCAPE: HUMAN-NATURE RELATIONSHIPS AND ENVIRONMENTAL RACISM IN FRITZ LANG’S DIE NIBELUNGEN Susan Power Bratton Whitworth College Abstract From the Iron Age to the modern period, authors have repeatedly restructured the ecomythology of the Siegfried saga. Fritz Lang’s Weimar lm production (released in 1924-1925) of Die Nibelungen presents an ascendant humanist Siegfried, who dom- inates over nature in his dragon slaying. Lang removes the strong family relation- ships typical of earlier versions, and portrays Siegfried as a son of the German landscape rather than of an aristocratic, human lineage. Unlike The Saga of the Volsungs, which casts the dwarf Andvari as a shape-shifting sh, and thereby indis- tinguishable from productive, living nature, both Richard Wagner and Lang create dwarves who live in subterranean or inorganic habitats, and use environmental ideals to convey anti-Semitic images, including negative contrasts between Jewish stereo- types and healthy or organic nature. Lang’s Siegfried is a technocrat, who, rather than receiving a magic sword from mystic sources, begins the lm by fashioning his own. Admired by Adolf Hitler, Die Nibelungen idealizes the material and the organic in a way that allows the modern “hero” to romanticize himself and, with- out the aid of deities, to become superhuman. Introduction As one of the great gures of Weimar German cinema, Fritz Lang directed an astonishing variety of lms, ranging from the thriller, M, to the urban critique, Metropolis. 1 Of all Lang’s silent lms, his two part interpretation of Das Nibelungenlied: Siegfried’s Tod, lmed in 1922, and Kriemhilds Rache, lmed in 1923,2 had the greatest impression on National Socialist leaders, including Adolf Hitler. -
Thesis Cover Page
Háskóli Íslands Hugvísindasvið Medieval Icelandic Studies Nema ein Guðrún er hon æva grét Emotion, gender and revenge in heroic poetry Ritgerð til MA-prófs í Medieval Icelandic Studies Elizabeth Skuthorpe Kt.: 141075-4469 Leiðbeinandi: Ármann Jakobsson Desember 2015 Acknowledgements The completion of this thesis would have been impossible without support from various quarters. But at the risk of becoming overly emotional or sentimental (and hopefully not vengeful) the following people have my sincere thanks: my family, especially my parents and David Hollingworth; the professors and instructors of the VMN and MIS programs at Háskoli Íslands, who’s teaching and support confirmed that my decision to travel to the other side of the world was a good one; Katie Thorn for her eagle-eyed proofreading; and my supervisor, Ármann Jakobsson, for his advice and assistance throughout this project. Abstract Revenge is a central theme of the heroic poetry of the Poetic Edda as are the attendant emotions such as shame and honour. Similarly the role of men and women in feud and vengeance is one of the prime concerns of this corpus of literature. Despite this centrality the heroic poems also bear a reputation for grim stoicism and a supposedly barren emotional landscape. Recent scholarship into the history of the emotions and the affective turn has begun to focus on the expression of emotion in medieval literature. This thesis surveys the language of emotion, the physical expressions of sentiment and emotional interactions in the final four poems of the Vǫlsunga and Niflunga narratives of the Poetic Edda; Atlakviða, Atlamál, Guðrúnarhvǫt and Hamðismál. -
The Hero and His Values
The Hero and his Values Ugnius Mikučionis University of Bergen Abstract: In this article, I argue that the portrayals of Sigurðr Fáfnisbani as a hero that emerge from the narratives about the slaying of the dragon in the Prose Edda and in the Saga of the Volsungs are rather different. A hero’s essence is not only about what actions the hero performs or what physical qualities the hero possesses, but also about what choices he makes and what values he adheres to. Therefore, one has to investigate why Sigurðr chose to agree to slay Fáfnir in order to be able to judge how heroic this deed was – or was not. A comparative analysis of the two source texts shows that while the main motivating factor for Sigurðr in the Prose Edda version of the narrative is the prospect of gaining Fáfnir’s treasure, the version contained in the Saga of the Volsungs gives a completely different picture. Here, the main motivation arises from Sigurðr’s own desire to avenge those who had killed his father, Sigmundr. In order to be able to wreak his vengeance, Sigurðr needs a suitable weapon, a sword without equal. Since Reginn is extraordinarily zealous in inciting Sigurðr to slay Fáfnir, Sigurðr promises to do so in exchange for a sword that Reginn – who is a smith with supernatural, dwarf-like competences – has to fashion using all his skill and effort. Additionally, avenging the injustice suffered by Reginn seems morally right, and is compatible with Sigurðr’s plans. The prospect of acquiring a hoard of gold may have contributed to his resolution, but in the Saga of the Volsungs it is not the main motivating factor for Sigurðr. -
Skaldskaparmal.1.Unicode.Pdf
Snorri Sturluson Edda Skáldskaparmál 1 Snorri Sturluson Edda Skáldskaparmál 1. Introduction, Text and Notes Edited by ANTHONY FAULKES VIKING SOCIETY FOR NORTHERN RESEARCH UNIVERSITY COLLEGE LONDON 1998 © Anthony Faulkes 1998 First published by Viking Society for Northern Research 1998 Reprinted with minor corrections 2007 ISBN: 978 0 903521 36 9 Volume 1 978 0 903521 38 3 Volume 2 Printed by Short Run Press Limited, Exeter Contents of Volume 1 Introduction ............................................................................. vii Title ....................................................................................... vii Synopsis...............................................................................viii The composition of the work ............................................... x Date and authorship.............................................................. xi The verse quotations ..........................................................xiii The þulur .............................................................................. xv The dialogue frame...........................................................xviii The prose narratives ..........................................................xxii The analysis of poetic diction.......................................... xxv Purpose............................................................................xxxvii Manuscripts .....................................................................xxxix This edition ...........................................................................