Brunnhilde and Siegfried Declare Their Love
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Gunther's Head and Hagen's Heart. Royal Sacrifice In
Corpus Mundi. 2020. No 1 От литературного к кинематографическому дискурсу GUNTHER’S HEAD AND HAGEN’S HEART. ROYAL SACRIFICE IN THE LAY OF NIBELUNGS Asya A. Sarakaeva (a) (a) Hainan State University. Haikou, China. Email: asia-lin[at]mail.ru Abstract Thee article deals with the ficnal part of the German epic Nibelungenlied to learn the real significcance, cultural and ideological context of these episodes. Thee author analyzes literary and anthropological theories, as well as archaeological ficnds to conclude that royal deaths described in the epic refliect the ancient practice of human sacrificce. Keywords the Nibelungenlied; the Elder Edda; interpretative level; human sacrificce; intra- communal violence Theis work is licensed under a Creative Commons «Atteribution» ?.0 International License. 135 Corpus Mundi. 2020. No 1 From Literary to Cinematic Discourse ГОЛОВА ГУНТЕРА И СЕРДЦЕ ХАГЕНА. ЖЕРТВОПРИНОШЕНИЕ В «ПЕСНИ О НИБЕЛУНГАХ» Саракаева Ася Алиевна (a) (a) Хайнаньский университет. Хайкоу, Китай. Email: asia-lin[at]mail.ru Аннотация В статье подробному рассмотрению подвергается финальная часть немецкой эпической поэмы «Песнь о нибелунгах», автор ставит себе задачу выяснить подлинное значение, культурный и идеологический контекст этих эпизодов. На основании анализа литературоведческих и антропологических теорий и археологических находок автор приходит к выводу, что гибель королей, описанная в поэме, отражает древную практику человеческих жертвоприношений. Ключевые слова «Песнь о нибелунгах»; «Старшая Эдда»; уровни интерпретации; человеческое жертвоприношение; внутриобщинное насилие Это произведение доступно по лицензии Creative Commons « Atteribution » («Атрибуция») ?.0 Всемирная 136 Corpus Mundi. 2020. No 1 От литературного к кинематографическому дискурсу Thee German epic Nibelungenlied (Thee Lay of Nibelungs) is a unique work of European medieval literature. It can boast a long and elaborate plot, rich imagery and unprecedented for its time psychological insights into human nature, but that’s not what makes it unique. -
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. -
The Editing of Eddic Poetry Judy Quinn
A HANDBOOK TO EDDIC POETRY This is the first comprehensive and accessible survey in English of Old Norse eddic poetry: a remarkable body of literature rooted in the Viking Age, which is a critical source for the study of early Scandinavian myths, poetics, culture, and society. Dramatically recreating the voices of the legendary past, eddic poems distil moments of high emotion as human heroes and supernatural beings alike grapple with betrayal, loyalty, mortality, and love. These poems relate the most famous deeds of gods such as Óðinn and Þórr with their adversaries the giants; they bring to life the often fraught interactions between kings, queens, and heroes as well as their encounters with valkyries, elves, dragons, and dwarfs. Written by leading international scholars, the chapters in this volume showcase the poetic riches of the eddic corpus and reveal its relevance to the history of poetics, gender studies, pre-Christian religions, art history, and archaeology. carolyne larrington is Official Fellow and Tutor at St John’s College, University of Oxford. judy quinn is Reader in Old Norse Literature in the Department of Anglo-Saxon, Norse and Celtic at the University of Cambridge. brittany schorn is a Research Associate in the Department of Anglo-Saxon, Norse and Celtic at the University of Cambridge. A HANDBOOK TO EDDIC POETRY Myths and Legends of Early Scandinavia CAROLYNE LARRINGTON University of Oxford JUDY QUINN University of Cambridge BRITTANY SCHORN University of Cambridge University Printing House, Cambridge cb2 8bs, United Kingdom Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning, and research at the highest international levels of excellence. -
Mackenzie, Colin Peter (2014) Vernacular Psychologies in Old Norse- Icelandic and Old English
Mackenzie, Colin Peter (2014) Vernacular psychologies in Old Norse- Icelandic and Old English. PhD thesis. http://theses.gla.ac.uk/5290/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] Vernacular Psychologies in Old Norse-Icelandic and Old English Colin Peter Mackenzie MA, MPhil Submitted in fulfilment of the requirement for the Degree of PhD English Language School of Critical Studies College of Arts University of Glasgow June 2014 2 Abstract This thesis examines the vernacular psychology presented in Old Norse-Icelandic texts. It focuses on the concept hugr , generally rendered in English as ‘mind, soul, spirit’, and explores the conceptual relationships between emotion, cognition and the body. It argues that despite broad similarities, Old Norse-Icelandic and Old English vernacular psychology differ more than has previously been acknowledged. Furthermore, it shows that the psychology of Old Norse-Icelandic has less in common with its circumpolar neighbours than proposed by advocates of Old Norse-Icelandic shamanism. The thesis offers a fresh interpretation of Old Norse-Icelandic psychology which does not rely on cross-cultural evidence from other Germanic or circumpolar traditions. -
The Nibelungenlied at the Court of Burgundy, Kriemhild, the Virginal
The Nibelungenlied At the court of Burgundy, Kriemhild, the virginal sister of King Gunther and his brothers Gernot and Giselher, has a dream of a falcon that is killed by two eagles. Her mother interprets this to mean that Kriemhild’s future husband will die a violent death, and Kriemhild consequently resolves to remain unmarried. Siegfried is the crown prince of Xanten. In an introductory narrative, he slays a dragon and bathes in its blood, rendering his skin sword-proof, save one small spot which the dragon’s blood didn’t cover; he also obtains a large treasure, after killing two brothers who had drawn him into the struggle over how to divide the wealth between themselves. Siegfried arrives in Worms with the hopes of wooing Kriemhild. Upon his arrival, Hagen tells Gunther about Siegfried’s youthful exploits that involved winning a treasure and lands from a pair of brothers, Nibelung and Schilbung, whom Siegfried had killed when he was unable to divide the treasure between them and, almost incidentally, the killing of a dragon. After killing the dragon, he had bathed in its blood rendering him invulnerable. Unfortunately for Siegfried a leaf fell onto his back from a linden tree as he was bathing and the tiny patch of skin that it covered did not come into contact with the dragon’s blood, so that Siegfried remains vulnerable in that one spot. In spite of Hagen’s threatening stories about his youth, the Burgundians welcome him, but do not allow him to meet the princess. Disappointed, he nonetheless remains in Worms and helps Gunther defeat the invading Saxons. -
The Nibelungenlied
The Nibelungenlied translated by Margaret Armour In parentheses Publications Medieval German Series Cambridge, Ontario 1999 CONTENTS BOOK I PAGE First AdventureÑConcerning the Nibelungs 4 Second AdventureÑConcerning Siegfried 5 Third AdventureÑHow Siegfried Came to Worms 7 Fourth AdventureÑHow Siegfried Fought with the Saxons 14 Fifth AdventureÑHow Siegfried First Saw Kriemhild 22 Sixth AdventureÑHow Gunther Went to Issland to Woo Brunhild 26 Seventh AdventureÑHow Gunther Won Brunhild 31 Eighth AdventureÑHow Siegfried Journeyed to the Nibelungs 37 Ninth AdventureÑHow Siegfried was Sent to Worms 41 Tenth AdventureÑHow Brunhild was Received at Worms 44 Eleventh AdventureÑHow Siegfried Brought his Wife Home 52 Twelfth AdventureÑHow Gunther Invited Siegfried to the Hightide 55 Thirteenth AdventureÑHow They Rode to the Hightide 59 Fourteenth AdventureÑHow the Queens Quarrelled 62 Fifteenth AdventureÑHow Siegfried was Betrayed 66 Sixteenth AdventureÑHow Siegfried was Slain 70 Seventeenth AdventureÑHow Siegfried was Mourned and Buried 76 Eighteenth AdventureÑHow Siegmund Returned Home 81 Nineteenth AdventureÑHow the Nibelung Hoard Came to Worms 83 Book II Twentieth AdventureÑHow King Etzel Sent to Burgundy for Kriemhild 87 Twenty-first AdventureÑHow Kriemhild Journeyed to the Huns 98 Twenty-second AdventureÑHow She was Received among The Huns 102 Twenty-third AdventureÑHow Kriemhild Thought of Revenging her Wrong 105 PAGE Twenty-fourth AdventureÑHow Werbel and Schwemmel Brought the Message 108 Twenty-fifth AdventureÑHow the Kings Journeyed to -
Wayland Smith : a Dissertation on a Tradition of the Middle Ages
p. KENNEDY, ANGLESEA STREET, Tliree doors from College Green. XgamMé^f^ ^ .' WAYLAND SMITH. A DISSERTATION ON A TRADITION OF THE MIDDLE AGES. FROM THE FRENCH OF G. B. DEPPING AND FRANCISQUE MICHEL. WITH ADDITIONS BY S. W. SINGER. AND THE AMPLIFIED LEGEND 13 Y OEHLENSCHLAGER. LONDON: WILLIAM PICKERING. 1847. TO MRS. KINNEAR, WHOSE TRANSLATION FROM OEHLENSCHLAGER FURNISHES THE MOST ATTRACTIVE PORTION, THE FOLLOWING PAGES ARE GRATEFULLY DEDICATED BY HER AFFECTIONATE FRIEND S. W. SINGER. PREFACE. The use which Sir Walter Scott made of this legend in his romance of Kenilworth, has given it universal celebrity, but, inde- pendent of this claim to our attention, it may be considered as one of the most interesting of the old Sagas of the North. The rifacci- mento of it by Adam Oehlenschlager was first written by him in Danish about the year 1800, and he afterwards re- wrote it in Ger- man, from which language the following version has been made. The dissertation appended to it will show how gradually it has been built up, and how skilfully from its fragmentary state the Danish poet has constructed a poetical tale breathing the wild spirit of his native land. A dissertation on a popular tale may at first glance appear to be a trifling thing. Nevertheless, when this tale is of remote origin ; when it has amused the people of the South and of the North, and given occupa- tion to poets, to writers of romance, and to mythologers of various ages ; when it has passed from one language and from one country to another, it is no longer an object to be despised. -
BRUNHILDS CINEMATIC EVOLUTION in GERMAN FILM By
BRUNHILDS CINEMATIC EVOLUTION IN GERMAN FILM by ULLA KASPRZYK HELD (Under the Direction of Christine Haase) ABSTRACT This thesis investigates the portrayal of Brunhild in three major films that retell the Norse and Germanic variations of the legends of Brunhild and Siegfried: Fritz Lang’s Die Nibelungen (1924), Harald Reinl’s Die Nibelungen (1966), and Uli Edel’s Die Nibelungen – Der Fluch des Drachen (2004) (English title Dark Kingdom: The Dragon King, 2006). The emphasis will be on whether Brunhild is portrayed in keeping with the spirit of the Norse tradition, i.e. that of a strong woman with agency, by examining the decade the film was shot in, to include gender relations, the director and production team, the literary and other sources used for the film, and finally the plot of the film itself, coupled with the portrayal of the character by the respective actress. I will argue the portrayal of this epic figure does not correspond to the most successful and emancipated representation of Brunhild in the Norse tradition in Lang’s and Reinl’s films, whereas it does in Edel’s film. An overview of the legend and sagas that have served as sources for these films will be required in order to support my analyses. A connection between the making of these films and the directors’ choice of which literary Brunhild to portray will also be examined. INDEX WORDS: Fritz Lang, Harald Reinl, Uli Edel, German Cinema, Fantasy, Brunhild, Brynhild, Siegfried, Sigurd, Die Nibelungen, Die Nibelungen – Der Fluch des Drachen, The Ring of the Nibelungs, Dark -
Read Book the Legend of Sigurd and Gudrun
THE LEGEND OF SIGURD AND GUDRUN PDF, EPUB, EBOOK J. R. R. Tolkien,Christopher Tolkien | 384 pages | 01 Apr 2010 | HarperCollins Publishers | 9780007317240 | English | London, United Kingdom The Legend of Sigurd and Gudrun PDF Book Tolkien than J. My expectations were very neutral before reading. Hartman has recently suggested that the late Old English poem The Battle of Brunanburh may have used ponderous verse— types in much the same way , It is not so jumpy that it puts off an informed reader. His use of this device is much like in the Fall of Arthur, though in this poem he uses it slightly less frequently, 26 and crossed alliteration is somewhat rarer in general. Neckel, Gustav, ed. Grimhild advises her daughter to mourn no longer, commenting that Brynhild is dead and that Gudrun is still beautiful. Which I don't have, since my education lacked things like the "Nibelungenlied", which is apparently similar. Some of the differences and similarities between Gudrun and Kriemhild in the Scandinavian and continental Germanic traditions can be seen in the following two stanzas taken from original sources. Das Nibelungenlied und die Klage. It should not be forgotten that Tolkien was an Oxford don more than he was a professional writer, and this translation of a long, turgid Norse saga is a scholarly work, that if it didn't have JRRT's name on the cover would probably only be read by a few intellectuals. Some of the biggest books out this fall promise to be epics full of magic, adventure, However, type E was nowhere near so rare for Tolkien as for the Anglo— Saxons, and even if he were not freer with anacrusis more generally, it would not be surprising that he would feel more comfortable using it with this rhythmic pattern. -
Iron, Steel and Swords Script
Wagner's "Der Ring des Nibelungen" (The Ring of the Nibelung) Background The Ring of the Nibelung (or "The Ring" for short) is a sequence of four closely connected operas and one of the most remarkable pieces of art. Richard Wagner (1813–1883) is the guy who made it. He not only composed the music but also wrote the libretto (= text of an opera) and directed first performances in a opera theatre he had built to his specification in Bayreuth, Bavaria. Mad King Ludwig II of Bavaria was the sucker who paid for all that. With his support of Wagner (who had expensive tastes) and his other extravagances (e.g. building the Neuschwanstein "Fairy Tale" castle plus two others like it) he all but ruined the state finances of Bavaria. This was frowned upon then but today we profit. His Illustration dream castles provide an inexhaustible source of income from millions of tourists every year. More important, without Ludwig there would be no "Ring", "Tristan", Meistersinger" and so on. Thank you, Ludwig! The "Ring" consists of four operas, always played on different days. We have: 1. The Rhine Gold. ("Das Rheingold"). Goes on for about 2½ hours without a break. 2. The Valkyrie. ("Die Walküre"). About 4 hours, not counting the 2 breaks. 3. Siegfried. Also about 4 hours not counting 2 breaks. 4. Twilight of the Gods. ("Götterdämmerung") Around 5 hours, 2 breaks. Ihe "Ring" has a lot in common with the "Lord of the Rings". Both tell one continuous tale but are too long for just one opera or movie. -
The Rape of Brunhild
University of Iceland School of Humanities Faculty of Languages and Culture The Rape of Brunhild Dismantling Female Transgression and Dominant Ideological Frameworks from the Middle Ages to Now MA degree in Literature, Culture & Media Melanie Janin Waha Kt.: 210684-3609 Supervisor: Þórhallur Eyþórsson May 2020 Abstract This thesis focusses on the literary character Brunhild, who is a crucial figure in the German medieval Nibelungenlied as well as in related Nordic literature. Medieval society will be examined closely in terms of its politics, laws, regulations, and general social occurrences, shedding light on her character from a historical angle. Followed by a close reading of the stanzas and sections in the Nibelungenlied, which deal with Brunhild in particular, the thesis will move onto the 19th and 20th century and the dominant European nationalistic currencies of the time. The underlying theme of this thesis are the notions myth and ideology, which remain crucial to disentangle the political and social networks that created and appropriated the medieval figure for centuries to come. This is also why the last section is concerned with the 21st century and a Brunhild that now stands in stark contrast to the previous centuries. Table of Contents 1. Introduction......................................................................................................................................1 1.1. The Importance of Myth...........................................................................................................3 2. Origins..............................................................................................................................................4 -
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