Vanir Healing Story
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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. -
Fading Suns D20 Runecasting
Runecasting Draft 0.5 RUNECASTING.......................................................................................................2 THE SCHOOLS OF RUNECASTING ......................................................................2 RUNECASTER ........................................................................................................4 CASTING A RUNE ..................................................................................................8 DEFENDING AGAINST RUNECASTING.............................................................. 10 SACRIFICE............................................................................................................ 11 GENERAL RUNECASTING FEATS...................................................................... 16 POWER RUNE PATHS ......................................................................................... 18 FORM RUNES (HAMRUNAR)............................................................................... 37 CONDITION RUNES.............................................................................................. 43 RUNE EFFECTS & SYNERGIES .......................................................................... 45 1 Runecasting Draft 0.5 Runecasting The Schools of Runecasting These two major schools still exist among Runecasters (sing. = vitki, pl. = vitkar) today, called the Well of Wyrd (Urdur) or Runelearners, and the Lucky (Nanringjw'), the mad wisdom seekers. The former forms an organization with membership roles and means of handing down runelore to -
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. -
A Saga of Odin, Frigg and Loki Pdf, Epub, Ebook
DARK GROWS THE SUN : A SAGA OF ODIN, FRIGG AND LOKI PDF, EPUB, EBOOK Matt Bishop | 322 pages | 03 May 2020 | Fensalir Publishing, LLC | 9780998678924 | English | none Dark Grows the Sun : A saga of Odin, Frigg and Loki PDF Book He is said to bring inspiration to poets and writers. A number of small images in silver or bronze, dating from the Viking age, have also been found in various parts of Scandinavia. They then mixed, preserved and fermented Kvasirs' blood with honey into a powerful magical mead that inspired poets, shamans and magicians. Royal Academy of Arts, London. Lerwick: Shetland Heritage Publications. She and Bor had three sons who became the Aesir Gods. Thor goes out, finds Hymir's best ox, and rips its head off. Born of nine maidens, all of whom were sisters, He is the handsome gold-toothed guardian of Bifrost, the rainbow bridge leading to Asgard, the home of the Gods, and thus the connection between body and soul. He came round to see her and entered her home without a weapon to show that he came in peace. They find themselves facing a massive castle in an open area. The reemerged fields grow without needing to be sown. Baldur was the most beautiful of the gods, and he was also gentle, fair, and wise. Sjofn is the goddess who inclines the heart to love. Freyja objects. Eventually the Gods became weary of war and began to talk of peace and hostages. There the surviving gods will meet, and the land will be fertile and green, and two humans will repopulate the world. -
In Merovingian and Viking Scandinavia
Halls, Gods, and Giants: The Enigma of Gullveig in Óðinn’s Hall Tommy Kuusela Stockholm University Introduction The purpose of this article is to discuss and interpret the enig- matic figure of Gullveig. I will also present a new analysis of the first war in the world according to how it is described in Old Norse mythic traditions, or more specifically, how it is referred to in Vǫluspá. This examination fits into the general approach of my doctoral dissertation, where I try to look at interactions between gods and giants from the perspective of a hall environment, with special attention to descriptions in the eddic poems.1 The first hall encounter, depending on how one looks at the sources, is described as taking place in a primordial instant of sacred time, and occurs in Óðinn’s hall, where the gods spears and burns a female figure by the name of Gullveig. She is usually interpreted as Freyja and the act is generally considered to initiate a battle between two groups of gods – the Æsir and the Vanir. I do not agree with this interpretation, and will in the following argue that Gullveig should be understood as a giantess, and that the cruelty inflicted upon her leads to warfare between the gods (an alliance of Æsir and Vanir) and the giants (those who oppose the gods’ world order). The source that speaks most clearly about this early cosmic age and provides the best description is Vǫluspá, a poem that is generally considered to have been composed around 900– 1000 AD.2 How to cite this book chapter: Kuusela, T. -
Panel 4 the Creation of Midgard from Ymir the Giant
CREATING THE WORLD FROM YMIR By Mackenzie Stewart THE BEGINNING ‘In no way do we accept him as a god. He was evil, as are all his descendants; we call them frost giants. It is said that as he slept he took to sweating. Then, from under his left arm grew a male and female, while one of his legs got a son with the other. From here the clans that are called the frost giants. The old frost giant, him we call Ymir’ - Snorri Sturluson, The Prose Edda, 14-15 ‘where did Ymir live, and what did he live on?’ ‘Next what happened that as the icy rime dripped, the cow called Audhumla was formed. Four rivers of milk ran from her udders, and she nourished Ymir.’ - Snorri Sturluson, The Prose Edda, 15 ‘She licked the blocks of ice, which were salty. As she licked these stones of icy rime the first day, the hair of a man appeared in the blocks towards the evening. On the second day came the man’s head, and on the third day, the whole man. He was called Buri, and he was beautiful, big and strong. He had a son called Bor, who took as his wife the woman called Bestla. She was the daughter of Bolthorn the giant, and they had three sons. One was called Odin, another Vili and the third Ve.’ - Snorri Sturluson, The Prose Edda, 15 Ymir suckles the udder of Auðumbla as she licks Búri out of the ice painting by Nicolai Abildgaard, 1790 THE DEATH ‘The sons of Bor killed the giant Ymir’…’When he fell, so much blood gushed from his wounds that with it they drowned all the race of the frost giants except for one who escaped with his household. -
GIANTS and GIANTESSES a Study in Norse Mythology and Belief by Lotte Motz - Hunter College, N.Y
GIANTS AND GIANTESSES A study in Norse mythology and belief by Lotte Motz - Hunter College, N.Y. The family of giants plays apart of great importance in North Germanic mythology, as this is presented in the 'Eddas'. The phy sical environment as weIl as the race of gods and men owe their existence ultimately to the giants, for the world was shaped from a giant's body and the gods, who in turn created men, had de scended from the mighty creatures. The energy and efforts of the ruling gods center on their battles with trolls and giants; yet even so the world will ultimately perish through the giants' kindling of a deadly blaze. In the narratives which are concerned with human heroes trolls and giants enter, shape, and direct, more than other superhuman forces, the life of the protagonist. The mountains, rivers, or valleys of Iceland and Scandinavia are often designated with a giant's name, and royal houses, famous heroes, as weIl as leading families among the Icelandic settlers trace their origin to a giant or a giantess. The significance of the race of giants further is affirmed by the recor ding and the presence of several hundred giant-names in the Ice landic texts. It is not surprising that students of Germanic mythology and religion have probed the nature of the superhuman family. Thus giants were considered to be the representatives of untamed na ture1, the forces of sterility and death, the destructive powers of 1. Wolfgang Golther, Handbuch der germanischen Mythologie, Leipzig 1895, quoted by R.Broderius, The Giant in Germanic Tradition, Diss. -
Gylfaginning Codex Regius, F
Snorri Sturluson Edda Prologue and Gylfaginning Codex Regius, f. 7v (reduced) (see pp. 26/34–28/1) Snorri Sturluson Edda Prologue and Gylfaginning Edited by ANTHONY FAULKES SECOND EDITION VIKING SOCIETY FOR NORTHERN RESEARCH UNIVERSITY COLLEGE LONDON 2005 © Anthony Faulkes 1982/2005 Second Edition 2005 First published by Oxford University Press in 1982 Reissued by Viking Society for Northern Research 1988, 2000 Reprinted 2011 ISBN 978 0 903521 64 2 Printed by Short Run Press Limited, Exeter Contents Codex Regius, fol. 7v ..........................................................Frontispiece Abbreviated references ....................................................................... vii Introduction ..........................................................................................xi Synopsis ..........................................................................................xi The author ..................................................................................... xii The title ....................................................................................... xvii The contents of Snorri’s Edda ................................................... xviii Models and sources ........................................................................ xx Manuscripts .............................................................................. xxviii Bibliography ...............................................................................xxxi Text ....................................................................................................... -
The Significant Other: a Literary History of Elves
1616796596 The Significant Other: a Literary History of Elves By Jenni Bergman Thesis submitted for the degree of Doctor of Philosophy Cardiff School of English, Communication and Philosophy Cardiff University 2011 UMI Number: U516593 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U516593 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DECLARATION This work has not previously been accepted in substance for any degree and is not concurrently submitted on candidature for any degree. Signed .(candidate) Date. STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. (candidate) Date. STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. Signed. (candidate) Date. 3/A W/ STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed (candidate) Date. STATEMENT 4 - BAR ON ACCESS APPROVED I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan after expiry of a bar on accessapproved bv the Graduate Development Committee. -
Viking Art, Snorri Sturluson and Some Recent Metal Detector Finds. Fornvännen 113
•• JOURNAL OF SWEDISH ANTIQUARIAN RESEARCH 2018:1 Art. Pentz 17-33_Layout 1 2018-02-16 14:37 Sida 17 Viking art, Snorri Sturluson and some recent metal detector finds By Peter Pentz Pentz, P., 2018. Viking art, Snorri Sturluson and some recent metal detector finds. Fornvännen 113. Stockholm. This paper seeks to contribute to a recent debate on the use of private metal detect- ing and its value within archaeology. Specifically it explores – by presenting some recently found Viking Period artefacts from Denmark – how private metal detect- ing can contribute to our understanding of Viking minds. By bringing together the myths as related by Snorri Sturluson in the early 13th century with the artefacts, I argue that thanks to private metal detecting through the last decades, our ability to recognise Viking art as narrative art has improved substantially. Peter Pentz, National Museum of Denmark, Ny Vestergade 10, DK–1471 København K [email protected] Over 60 years ago, Thorkild Ramskou (1953) the main problems in understanding Viking art described Viking art as almost exclusively deco- is the scarcity of reference materials. We largely rative, only functioning as a covering for plain know Norse mythology and its narratives through surfaces. In the rare cases where it was represen- Medieval Christian authors, in particular Snorri. tative, quality was poor. Viking artists, he stated, Hence, the myths have come down to us biased, preferred to portray scenes from myths of the reinterpreted and even now and then propagan- gods and heroic legends. Such scenes functioned dised. Furthermore, what survived is only a selec- as mnemonics; for the viewer they would recall tion. -
Parallels Between Old Norse Cosmogony and Eschatology1
TEMENOS NORDIC JOURNAL OF COMPARATIVE RELIGION Temenos Vol. 57 No. 1 (2021), 103–26 DOI: 10.33356/temenos.100075 The Echo of Creation: Parallels between Old Norse Cosmogony and Eschatology1 JAN A. KOZÁK Charles University Abstract The article explores the idea of an echo, both literal and structural, that connects Old Norse cosmogony and eschatology. The motif of a bellowing sound or cry appears in cosmogony in the figure of Ymir, ‘Crier’, who is killed by the Æsir, and from his body the world is cre- ated. During the eschatological events the booming sound recurs when Heimdallr blows his horn shortly before the Æsir themselves are killed by their adversaries. A cry is also emitted by Óðinn when he sacrifices himself on the Cosmic Tree. The booming bellow is thus associated with death, especially in the context of implicit or explicit sacrifice. The structural resonance between cosmogony and eschatology is composed of a series of five motifs that reappear in the same sequence at both liminal moments. The eschatology seems to be structurally a repetition of the cosmogony, but with inverted roles: the victims are the gods, and the sacrificers are the giants, which is the inverse of the situation during the cosmogony. The present analysis sheds light on the sacrificial pattern hidden behind the two events, and helps contextualize the motif of the mighty sound that reappears at both moments in cosmic history. Keywords: Old Norse Myth, cosmogony, eschatology, sacrifice, sound, murder, creation, Heimdall, Gjallarhorn, Ymir In this article I will explore the parallels between Old Norse cosmogony and eschatology from two different but interconnected perspectives – first, by focusing on the motif of the bellowing sound or cry, and second, by focusing 1 This research was supported by the Marie Skłodowska-Curie Fellowship of the Horizon 2020 Programme at the University of Bergen, SYMBODIN project. -
Creation Stories
CREATION STORIES NORSE CREATION: THE NINE WORLDS Twas the earliest of times // When Ymir lived; // There was no sand nor sea // Nor cooling wave. // Earth had not been, // Nor Heaven on high, // There was a yawning void // And grass no where IN THE MORNING OF TIME THERE WAS NO SAND, no sea, and no clouds. There was no heaven, no earth, and no grass. There wasonly a region of icy mist called Nifiheim, a region of fire called Muspell, and a great yawning empty void between them called Ginnungagap. Over time, the flames of Muspell warmed the frozen vapors of Nifiheim, and ice melted into water and began to drip. Quickened with life, the water dripped into the void and formed into two gigantic creatures. The first was a wicked frost-giant named Ymir. The second was a huge cow named Audumla. As Ymir drank Audumla's milk, he grew bigger and stronger. One night as Ymir slept, a troll with six heads grew from the soles of his feet, and a male and a female frost-giant sprung from Ymir's warm armpit. The ice cow also brought about life. As she licked salty ice blocks, she slowly licked a new creature into being. The first day hair came forth; on the second day came a head – and finally, on the third day, the body of a new giant emerged. This giant was a good giant whose name was Buri. His sons and grandsons became gods instead of giants, and they stood for all that was good and honorable.