Runestones and the Conversion of Swedenl Henrik Williams
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Old Norse Mythology — Comparative Perspectives Old Norse Mythology— Comparative Perspectives
Publications of the Milman Parry Collection of Oral Literature No. 3 OLd NOrse MythOLOgy — COMParative PersPeCtives OLd NOrse MythOLOgy— COMParative PersPeCtives edited by Pernille hermann, stephen a. Mitchell, and Jens Peter schjødt with amber J. rose Published by THE MILMAN PARRY COLLECTION OF ORAL LITERATURE Harvard University Distributed by HARVARD UNIVERSITY PRESS Cambridge, Massachusetts & London, England 2017 Old Norse Mythology—Comparative Perspectives Published by The Milman Parry Collection of Oral Literature, Harvard University Distributed by Harvard University Press, Cambridge, Massachusetts & London, England Copyright © 2017 The Milman Parry Collection of Oral Literature All rights reserved The Ilex Foundation (ilexfoundation.org) and the Center for Hellenic Studies (chs.harvard.edu) provided generous fnancial and production support for the publication of this book. Editorial Team of the Milman Parry Collection Managing Editors: Stephen Mitchell and Gregory Nagy Executive Editors: Casey Dué and David Elmer Production Team of the Center for Hellenic Studies Production Manager for Publications: Jill Curry Robbins Web Producer: Noel Spencer Cover Design: Joni Godlove Production: Kristin Murphy Romano Library of Congress Cataloging-in-Publication Data Names: Hermann, Pernille, editor. Title: Old Norse mythology--comparative perspectives / edited by Pernille Hermann, Stephen A. Mitchell, Jens Peter Schjødt, with Amber J. Rose. Description: Cambridge, MA : Milman Parry Collection of Oral Literature, 2017. | Series: Publications of the Milman Parry collection of oral literature ; no. 3 | Includes bibliographical references and index. Identifers: LCCN 2017030125 | ISBN 9780674975699 (alk. paper) Subjects: LCSH: Mythology, Norse. | Scandinavia--Religion--History. Classifcation: LCC BL860 .O55 2017 | DDC 293/.13--dc23 LC record available at https://lccn.loc.gov/2017030125 Table of Contents Series Foreword ................................................... -
Contents & Introduction
e Archaeology of Sound, Acoustics and Music: Studies in Honour of Cajsa S. Lund Gjermund Kolltveit and Riitta Rainio, eds. Publications of the ICTM Study Group on Music Archaeology, Vol. 3 Series Editor: Arnd Adje Both Berlin: Ekho Verlag, 2020 368 pages with 86 gures and 6 tables ISSN 2198-039X ISBN 978-3-944415-10-9 (Series) ISBN 978-3-944415-39-0 (Vol. 3) ISBN 978-3-944415-40-6 (PDF) Layout and Typography: Claudia Zeissig · Kunst & Gestaltung | www.claudiazeissig.ch Printed in Poland Ekho Verlag Dr. Arnd Adje Both, Berlin [email protected] | www.ekho-verlag.com All rights are reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of Ekho Verlag. © 2020 Ekho Verlag 5 Contents Prefaces and Introduction 11 The Sounds of Former Silence Cornelius Holtorf 13 Pioneering Archaeological Approaches to Music Iain Morley 15 My Tribute to Cajsa, or My Encounter with the Swedish Fairy Godmother of the New Music Archaeology Catherine Homo-Lechner 19 Ears wide open: Listening to the 4D Soundscapes of Cajsa S. Lund Emiliano Li Castro 21 Introduction to the Volume The Archaeology of Sound, Acoustics and Music: Studies in Honour of Cajsa S. Lund Gjermund Kolltveit and Riitta Rainio 6 Contents Chapters 31 Sound Archaeology and the Soundscape Rupert Till 55 Ears to the Ground: On Cajsa Lund’s Legacy and Moving Movements Frances Gill 97 The Rommelpot of the Netherlands as a Case Study in Cajsa -
Destination Sigtuna
ARLANDA • MÄRSTA • ROSERSBERG • SIGTUNA STAD DISCOVER SIGTUNA WELCOME TO SIGTUNA COME FOR A VISIT! PLEASE VISIT us – three tourist offices are ready to welcome you all year round. If you are travelling to Stockholm Arlanda Airport, you will find the tourist information office in the arrival halls in Terminal 5 and Terminal 2. Arlanda Visitors Center is open around the clock and is staffed between 06–24. The Sigtuna Tourist office can be found at Stora gatan 33 in Sigtuna town. Here you can book guided tours and get help to plan your visit. Visiting address: Stora gatan 33, Sigtuna Postal adress: Box 117, 193 23 Sigtuna Phone: +46 (0)8 591 269 60 E-mail: [email protected] NMÄ NE RK A E V T S WANT TO KNOW MORE? DESTINATIONSIGTUNA.SE FOLLOW US: FACEBOOK.COM/SIGTUNA Trycksak INSTAGRAM.COM/DESTINATION_SIGTUNA 5041 0004 SIGTUNAGUIDE PUBLISHER Destination Sigtuna AB WRITER Anna Forster PHOTO COVER AND CONTENT Linus Hallgren ADDITIONAL PHOTOS Helena Brännström, Lennart Durehed, Marielle Brolin, Ralf Turander MAPS David Karlström 2 WELCOME TO SIGTUNA — WHERE SWEDEN BEGINS Sigtuna, Sweden’s first town was built as a political and religious center of power over 1000 years ago. Sigtuna quickly became a meeting place for people from all over the world, and remains so to this day. Sigtuna is one of the nation’s premier hotel and conference destinations with over 4000 beds ready for you. A unique place to meet and to discover. You will find us less than one hour from Stockholm or Uppsala. Sigtuna is easily accessible with the SL card, car, boat or why not by plane to Sigtuna’s own Stockholm – Arlanda Airport. -
Ragnarocks You Take on the Role of a Viking Clan Using Runestones to Mark Your Clan’S Claims of Land
1 1 IN NORSE MYTHOLOGY, HUMANS EXIST IN THE LAND OF MIDGARD - A PLACE IN THE CENTER OF THE WORLD TREE AND CONNECTED TO THE NINE REALMS. AMONG THESE NINE REALMS LIVE GODS AND GODDESSES, SERPENTS AND SPIRITS, AND ALL MANNER OF MYTHICAL AND MYSTICAL CREATURES. In Ragnarocks you take on the role of a Viking clan using Runestones to mark your clan’s claims of land. In the advanced game, your clan worships one of these powerful beings from another realm who lends you their power to help you outwit rivals and claim territories for your clan. At the end of the game, the clan who controls the most territory in Midgard wins! Contents Heimdallr Odin Guardian of Asgard Sól Ruler of the Aesir Goddess of the Sun Art Coming Soon Art Coming Soon Art Coming Soon SETUP: Draw two additional Mythology Powers with [Odin icon] andCommand hold them. cards. These are your START OF YOUR TURN: AT THE END OF YOUR TURN: You may relocate one of your vikings Settled You may either play a Command card this turn to any unoccupied space that was from your hand, or pick up all your played BEFORE YOUR MOVE: not Settled at the beginning of this turn. You may Move one space with Command cards. If you play a Command your Selected Viking card, you gain(ignore that setuppower powers). until your next turn 32 Mythology Cards 40 Runestones 6 Viking Pawns 1 Tree Stand 1 Game Insert Board 2 3 basic game setup 1 Remove game pieces from the insert and set them where all players can reach them. -
A Knaver in the Works! 1 a Knaver in the Works! Nya Arkeologiska Fynd Ger Instrumentforskningen Problem Jan Winter
Sigtunafyndet: A knaver in the works! 1 A knaver in the works! Nya arkeologiska fynd ger instrumentforskningen problem Jan Winter När arkeologen Anders Söderberg i februari 2016 presenterade ett arkeologiskt fynd från Sigtuna vid The Archaeology of Sound, Acoustics and Music, A symposium in honour of Cajsa S. Lund i Växjö möttes han av entusiasm eftersom fyndet beskrevs som ”the earliest known key for a possible nyckelharpa”.1 Fyndet åtföljdes av en datering - 1200-talet. Det ökade frågetecknen dramatiskt eftersom de hittills äldsta kända bevarade nyckelharporna är från slutet av 1600-talet.2 Vid samma konferens i Växjö presenterade den polska musikarkeologen Dorota Popławska uppgifter som gjorde gällande att man hittat instrumentlocket från en nyckelharpa nära Wolin vid Östersjökusten. Också detta fynd daterades till 1200-talet. Därmed hade två av varandra oberoende sensationella musikhistoriska fynd dykt upp som i praktiken kullkastade hittills accepterade fakta rörande de allra tidigaste instrumentfynden av nyckelharpa. Sigtunafyndets ursprung och betydelse diskuterades livligt i nyckelharpskretsar under våren 2016, delvis med Söderberg som debattdeltagare. Samma vår visades detta fynd upp i Sigtuna museums utställning Trä 2.0 – tiden är ingenting, åter med tidsbestämningen 1200-talet och presenterad under en stiliserad teckning av en nyckelharpa från 1700-talet. Under sommaren publicerades Sigtunafyndet i den arkeologiska tidskriften Fornvännen under rubriken Medieval string instrument finds from Sigtuna, including the earliest known key for a possible nyckelharpa.3 Att hitta föremål som på något sätt bekräftar det svårtolkade medeltida ikonografiska källmaterialet kring de tidigaste nyckelharporna i Europa är sensationellt. Trots detta har fynden väckt mycket liten uppmärksamhet bland etablerade musikhistoriker och instrumentforskare i Sverige. -
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. -
Henrik Williams. Scripta Islandica 65/2014
Comments on Michael Lerche Nielsen’s Paper HENRIK WILLIAMS The most significant results of Michael Lerche Nielsen’s contribution are two fold: (1) There is a fair amount of interaction between Scandinavians and Western Slavs in the Late Viking Age and Early Middle Ages — other than that recorded in later medieval texts (and through archaeology), and (2) This interaction seems to be quite peaceful, at least. Lerche Nielsen’s inventory of runic inscriptions and name material with a West Slavic connection is also good and very useful. The most important evidence to be studied further is that of the place names, especially Vinderup and Vindeboder. The former is by Lerche Niel sen (p. 156) interpreted to contain vindi ‘the western Slav’ which would mean a settlement by a member of this group. He compares (p. 156) it to names such as Saxi ‘person from Saxony’, Æistr/Æisti/Æist maðr ‘person from Estonia’ and Tafæistr ‘person from Tavastland (in Finland)’. The problem here, of course, is that we do not know for sure if these persons really, as suggested by Lerche Nielsen, stem ethnically from the regions suggested by their names or if they are ethnic Scandi navians having been given names because of some connection with nonScandi navian areas.1 Personally, I lean towards the view that names of this sort are of the latter type rather than the former, but that is not crucial here. The importance of names such as Æisti is that it does prove a rather intimate connection on the personal plane between Scandinavians and nonScan dinavians. -
Chronology and Typology of the Danish Runic Inscriptions
Chronology and Typology of the Danish Runic Inscriptions Marie Stoklund Since c. 1980 a number of important new archaeological runic finds from the old Danish area have been made. Together with revised datings, based for instance on dendrochronology or 14c-analysis, recent historical as well as archaeological research, these have lead to new results, which have made it evident that the chronology and typology of the Danish rune material needed adjustment. It has been my aim here to sketch the most important changes and consequences of this new chronology compared with the earlier absolute and relative ones. It might look like hubris to try to outline the chronology of the Danish runic inscriptions for a period of nearly 1,500 years, especially since in recent years the lack of a cogent distinction between absolute and relative chronology in runological datings has been criticized so severely that one might ask if it is possible within a sufficiently wide framework to establish a trustworthy chro- nology of runic inscriptions at all. However, in my opinion it is possible to outline a chronology on an interdisciplinary basis, founded on valid non-runo- logical, external datings, combined with reliable linguistic and typological cri- teria deduced from the inscriptions, even though there will always be a risk of arguing in a circle. Danmarks runeindskrifter A natural point of departure for such a project consists in the important attempt made in Danmarks runeindskrifter (DR) to set up an outline of an overall chro- nology of the Danish runic inscriptions. The article by Lis Jacobsen, Tidsfæst- else og typologi (DR:1013–1042 cf. -
The Old Potter's Almanack
The Old Potter’s Almanack Page 23 THE BRAZING OF IRON AND THE unidentified in pictures in the catalogue (cf. Gebers METALSMITH AS A SPECIALISED POTTER 1981, 120 where figs. 1 and 2 may depict fragments of brazing packages for padlocks). Anders Söderberg Sigtuna Museum Sweden Email: [email protected] Introduction In early medieval metal craft, ceramics were used for furnace and forge linings and for crucibles and containers for processing metals, processes like refining, assaying and melting. Ceramic materials were also used in processes such as box carburisation and brazing, which is more rarely paid attention to. In the latter cases, we are merely talking about tempered clay as a protective “folding material”, rather than as vessels. The leftover pieces from the processes, though, look very similar to crucible fragments, which is why the occurrence of brazing and carburisation easily gets missed when interpreting workshop sites. Yet, just like the crucibles, they tell about important processes and put Figure 1. Map of Scandinavia, Denmark, the Baltic Sea and the spotlight on the metalworkers as skilled potters. the different sites mentioned in this paper (A. Söderberg). Leftover pieces of what probably were clay What are probably the remains of fragments wrappings used in box carburisation, performed as emerging from the brazing of small bells, were found described by Theophilus in book III, chapters 18 and at Helgö and in Bosau (Figure 2; cf. Gebers 1981, 19 (Hawthorne and Smith 1979, 94–95), seem to be 120 figs. 3-6), in early Christian Clonfad in Ireland relatively common at early medieval workshop sites (Young 2005, 3; Stevens 2006, 10) and in a Gallo- in Sweden. -
Andrey Grinev, Phd Student Lomonosov Moscow State
Andrey Grinev, PhD student Lomonosov Moscow State University REPORT ON THE PROJECT RESEARCH of CULTURAL COMMUNICATIONS between OLD RUS AND SCANDINAVIA in the LATE VIKING AGE (X-XI th centuries) (on materials of collections of objects from organic materials) Stockholm, Sigtuna, Uppsala, Lödöse March – May, 2018 Introduction The Sverker Åström Foundation is the unique organization contributing to the establishment and development of Russian-Swedish relationships in fields of science, art, culture, technology, ecology and so on. Collaboration with this Foundation allows receiving new experience, learning up-to-date methodic and striking up new acquaintances with specialists and colleagues for many young researchers. This project is devoted to the investigation of Russian-Swedish contacts in the Late Viking Age (10 – 11th centuries) basing on the analysis of archaeological sources. Concept Old Rus and Scandinavia are two huge regions, which played an extremely important role in the history of Europe during the Middle Ages. It is well known from writing sources that there were very firm contacts between these territories in the Early Middle Ages, which were reflected through dynastic matrimonies, trading, martial co-operation etc. All these things left their traces in material culture. The problem of relationships between Old Rus and Scandinavia in Early Middle Ages and the problem of archaeological evidence of these contacts is of current importance for many decades. Writing sources (chronicles and sagas), burial rites, weapon, jewellery, and diverse household utensils were under consideration during this period, but despite the long-time research, this problem is not used up. The great part of the material culture, first of all consisting of artefacts made of organic materials (bone and wood), was out of the attention of scholars. -
Cunningham Tarpaulin Sky in Utero
! TWO: THE ICE LAND ICE ARENA cold eyes blue eyes cold eyes dead eyes red eyes dead eyes what breaks the eyes skates up and down the eyes up, the eyes down the eyes, cold eyes bite cold eyes blue eyes cold eyes on thin eyes, you’re on thin eyes skating, wound on eyes, skating red eyes A-20 Aircraft— Wagner’s Valkyries knows, dives a soldier’s nerves Chassis— grief stains, skeleton of screaming metal priceless lie-down Engine— auto-translation power supply with mess, with Wooden Box— ice jamming coffin-lidded gorged on 8s Runestone— hell-raised audience guide all, different voices A-20 Aircraft— hell-raised coffin-lidded priceless lie-down Chassis— audience guide a soldier’s nerves ice jamming Engine— grief stains, skeleton with mess, with auto-translation Wooden Box— of screaming metal knows, dives all, different voices Runestone— gorged on 8s Wagner’s Valkyries power supply A-20 Aircraft— grief stains, skeleton gorged on 8s audience guide Chassis— a soldier’s nerves of screaming metal with mess, with Engine— Wagner’s Valkyries knows, dives power supply Wooden Box— all, different voices ice jamming coffin-lidded Runestone— auto-translation priceless lie-down hell-raised A-20 Aircraft— coffin-lidded priceless lie-down hell-raised Chassis— of screaming metal with mess, with grief stains, skeleton Engine— power supply knows, dives ice jamming Wooden Box— gorged on 8s a soldier’s nerves all, different voices Runestone— Wagner’s Valkyries auto-translation audience guide A-20 Aircraft— of screaming metal audience guide with mess, with Chassis— -
Vocalism in the Continental Runic Inscriptions
VOCALISM IN THE CONTINENTAL RUNIC INSCRIPTIONS Martin Findell, MA. Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 Volume II: Catalogue Notes on catalogue entries ................................................................................vii Designation of items .....................................................................................vii Concordance .................................................................................................vii Find-site ........................................................................................................vii Context ..........................................................................................................vii Provenance .................................................................................................. viii Datings ........................................................................................................ viii Readings ..................................................................................................... viii Images ............................................................................................................. x 1. Aalen ............................................................................................................... 1 2. Aquincum ....................................................................................................... 2 3. †Arguel ...........................................................................................................