Treaty Between Aesir and Vanir Mesh
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Frigg, Astghik and the Goddess of the Crete Island
FRIGG, ASTGHIK AND THE GODDESS OF THE CRETE ISLAND Dedicated to the goddesses-mothers of Armenia and Sweden PhD in Art History Vahanyan V. G., Prof. Vahanyan G. A. Contents Intrоduction Relations between Frigg and the Goddess of the Crete Island Motifs in Norse Mythology Motifs in Armenian Mythology Artifacts Circle of the World Afterword References Introduction According to conventional opinion, the well-known memorial stone (Fig. 1a) from the Swedish island Gotland (400-600 AC) depicts goddess Frigg holding snakes. The unique statuettes of a goddess holding snakes are discovered on Crete (Fig. 1b), which date to c. 1600 BC1. The depiction of Frigg embodies a godmother with her legs wide open to give birth. In Norse mythology Frigg, Frige (Old Norse Frigg), Frea or Frija (Frija – “beloved”) is the wife of Odin. She is the mother of the three gods Baldr, Hodr and Hermodr. a b Fig. 1. (a) Memorial stone from the Swedish island Gotland (400-600 AC) depicting Frigg holding snakes. (b) Goddess holding snakes, Crete (c. 1600 BCE) The Swedish stone from Gotland island depicts the godmother, who is sitting atop the mountain before childbirth (Fig. 1а). Her hands are raised and she is holding two big snakes-dragons. The composition symbolizes the home/mountain of dragons (volcanic mountain). The composite motif of the depiction on the memorial stone, according to the 1 The findings belong to Crete-Minoan civilization and are found in the upper layers of the New Palace in Knossos. Two items are discovered (Archaeological Museum, Heraklion) authors, stems to the archetypes in the Old Armenian song “The birth of Vahagn” 2. -
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. -
Odin Loki Thor Frigg
Odin Thor Odin is the chief god in Norse Thor is the god of thunder, storms, mythology and part of the Æsir strength and fertility. He is part of pantheon. He is the king of Asgard. the Æsir pantheon. He is the son of Odin and married to the goddess Sif. Odin is the god of wisdom, poetry, death and magic. Thor wields a magical hammer called Mjolnir which is so powerful Also known as the All-Father, it is it can destroy mountains. He is able believed that he gave up one of his to summon thunder and lightning eyes in order to gain understanding using his hammer in battle against of the universe. He is also often his enemies. Vikings believed that a accompanied by two ravens who help thunderstorm was a sign that Thor him see everything. was angry. He rides into battle upon an eight- Thor also has incredible strength legged horse called Sleipnir and and is a mighty warrior. There are wields the mighty spear Gungnir, many tales of his battles, including with which he never misses his target. with the giant serpent Jörmungandr He is married to the goddess Frigg during Ragnarök – the final battle and is the father of many gods, of the gods. including Thor and Baldr. twinkl.com twinkl.com Loki Frigg Loki is the god of mischief and chaos. Frigg, or Frigga, is the goddess of He is known for playing tricks on motherhood and the sky, the wife of the other gods. He is part of the Æsir Odin and mother of Baldr and Hodr. -
The Goddess: Myths of the Great Mother Christopher R
Gettysburg College Faculty Books 2-2016 The Goddess: Myths of the Great Mother Christopher R. Fee Gettysburg College David Leeming University of Connecticut Follow this and additional works at: https://cupola.gettysburg.edu/books Part of the English Language and Literature Commons, Folklore Commons, and the Religion Commons Share feedback about the accessibility of this item. Fee, Christopher R., and David Leeming. The Goddess: Myths of the Great Mother. London, England: Reaktion Press, 2016. This is the publisher's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/books/95 This open access book is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. The Goddess: Myths of the Great Mother Description The Goddess is all around us: Her face is reflected in the burgeoning new growth of every ensuing spring; her power is evident in the miracle of conception and childbirth and in the newborn’s cry as it searches for the nurturing breast; we glimpse her in the alluring beauty of youth, in the incredible power of sexual attraction, in the affection of family gatherings, and in the gentle caring of loved ones as they leave the mortal world. The Goddess is with us in the everyday miracles of life, growth, and death which always have surrounded us and always will, and this ubiquity speaks to the enduring presence and changing masks of the universal power people have always recognized in their lives. -
Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia Michael David Lawson East Tennessee State University
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2019 Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia Michael David Lawson East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Comparative Literature Commons, Cultural History Commons, Disability Studies Commons, European History Commons, European Languages and Societies Commons, Folklore Commons, History of Religion Commons, History of Science, Technology, and Medicine Commons, Medieval History Commons, Medieval Studies Commons, Scandinavian Studies Commons, and the Social and Cultural Anthropology Commons Recommended Citation Lawson, Michael David, "Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia" (2019). Electronic Theses and Dissertations. Paper 3538. https://dc.etsu.edu/etd/3538 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia ————— A thesis presented to the faculty of the Department of History East Tennessee State University ————— In partial fulfillment of the requirements for the degree -
Thor's Will Into Yours
THOR Game Play 3 x 2 = 6 from Freya additional rule: the game also ends when a 2 x 5 = 10 from Odin player plays his final offering card. He simply A Game by Reiner Knizia Draw lots to decide who will begin. The for 2 to 6 players 3 x 4 = 12 from Thor declares that the game has ended, and he may players take turns in clockwise order. During finish his turn by taking a god card. In the rough world of the vikings, one had to his turn a player will first place one of his I have gained 28 favor points in total. rely on the will of the Gods in order to offering cards directly beneath the stack of god Note: the action card “Drei Gaben” (Three When several rounds are played you should Gifts) cannot be placed above a god stack. survive. Whether Aesir or Vanir, the savage cards in the same color. keep track of the favor points on a piece of gods of the Norse stood only on the side of However, it may be used to remove another Important: Offering cards of the same color paper. those who understood how to befriend them. action card. should be placed overlapping each other so The right offerings must be made with caution We recommend that you play as many rounds that the values at the top of all cards are Action cards that change the value of the god and understanding. as there are players. Each player will then clearly visible cards only have effect as long as they remain become the first to play once. -
"Frá Mínom Véom Oc Vǫngom" - an Examination of Literary Representations of the Mythological Figure of Skaði
Hugvísindasvið "Frá mínom véom oc vǫngom" - an examination of literary representations of the mythological figure of Skaði Ritgerð til M.A.-prófs Sarah Welschbach September 2012 Háskóli Íslands Íslensku- og Menningardeild Medieval Icelandic Studies "Frá mínom véom oc vǫngom" - an examination of literary representations of the mythological figure of Skaði Ritgerð til M.A.-prófs Sarah Welschbach Kt.: 1107873249 Leiðbeinandi: Ingunn Ásdísardóttir September 2012 1 Introduction p. 1 2 Sources p. 3 2.1 Introduction to the sources p. 3 2.2 Literary sources p. 4 2.3 Archaeological sources p. 8 3 Etymology p. 10 3.1 Meaning and Interpretation p. 10 3.2 Eponym of Scandinavia p. 14 4 Placename-evidence p. 16 5 Skaði in Snorra Edda p. 18 5.1 Skaði's gender-ambiguity p. 18 5.1.1 Valkyrjur p. 20 5.1.2 Skaði and Hervǫr, the maiden warrior p. 23 5.1.3 Sami women p. 25 5.1.4 Skaði and the god Ullr p. 27 5.2 Skaði's retribution p. 28 5.2.1 Choosing a husband p. 28 5.2.2 Loki's trick p. 32 5.2.3 Óðinn's special retribution p. 35 5.3 Skaði's failed marriage p. 37 5.3.1 Gesta Danorum : Hadingus and Regnhilda p. 40 6 Skaði in the Poetic Edda p. 42 6.1 Skaði in Lokasenna p. 42 6.1.1 Skaði and Loki p. 42 6.1.2 Skaði's revenge p. 43 7 Skaði in Heimskringla p. 45 7.1 Euhemerism p. 45 7.2 Skaði's second marriage and offspring p. -
Valkyrie Profile CYOA
Valkyrie Profile CYOA In Valhalla in the land of Asgard, the Aesir rule from on high. There they're locked in an eternal war with the Vanir and the undead forces of Hel, and so they send the Chooser of the Slain, the Valkyrie, down to the world of Midgard below to gather souls to make into Einherjar. The world of Midgard is in all eras like medieval Earth, constantly full of misery and war, only with other races, monsters, and magic thrown in to create more tragedy. Here the Battle Maiden picks through the killing fields for the dead and dying, taking the strongest with her for training and eventual ascension. Some see her as a blessed figure, who honors brave warriors with glory and eternal life. Others see her as a death goddess, who cruelly steals away their loved ones. Once she has performed her duty for long enough, she sleeps in mortal guise while her one of her sisters takes her place, perpetuating the cycle of fate. And so the wars in Asgard and Midgard continue in eternally. All is not as simple as it seems, however, and all that is benevolent is not not so. Perhaps the Aesir are not as noble as they appear to be, for time and again their servants rebel against them, only further creating strife. It is in this world that you find yourself for ten years, but thankfully you are not left with nothing. You have 1000 CP to choose your fate. Location Roll 1d8 to determine your starting location. -
Norse Mythology in Popular Culture: a Study of the Thor Trilogy in the Marvel Cinematic Universe
International Journal of Innovative Technology and Exploring Engineering (IJITEE) ISSN: 2278-3075, Volume-8 Issue-7C, May 2019 Norse Mythology in Popular Culture: A Study of the Thor Trilogy in the Marvel Cinematic Universe. Niveditha Syam, T. Manjima Prakash, Geetha R. Pai Abstract Man’s interest in mythology since time immemorial has The franchise was successfully established with the release been manifested in arts in various forms throughout the ages. of Iron Man in 2008. Its ginormous success was followed by Norse Mythology is the collected myths of Germanic people who 21 movies to date. In addition to movies, they also lived in the Scandinavian region and spoke Norse mythology experimented with short films, cartoons, video games and roughly between the period of 800 and 1300AD. Norse mythology television series streaming on platforms like Netflix, Hulu had been adapted to popular culture quite often in the past. The paper aims at understanding the adaptation of Norse mythology and the soon-to-be-launched Disney+.In the decades into one of the biggest and popular movie franchises in between the launch of the comics and the release of an Hollywood that is the marvel cinematic universe a superhero ambitious superhero cross-over movie in 2019, Marvel has movie franchise based on comic books. It details on how comic emerged as a giant figure in popular culture. They’re a huge creators and movie makers deviated from actual mythology to fit force dominating the lives of people around the globe, Thor and his celestial world into a superhero universe, thereby particularly the youth and children.Thor first appeared in catering to popular culture. -
The Great Goddess of the North
LOTTE MOTZ (t) The Great Goddess of the north In studies of religion and mythology the figure of a Great Goddess is frequently discussed. She is often recognized in the imperious and vio lent deities of Middle Eastern tradition: Anat, Ishtar-Inanna, Cybele, or Astarte.1 Another form of the Great Goddess has also been postu lated as an archetype. She is said to have existed in a pre-patriarchal society and to have embodied the prime forces of life, birth, death, and regeneration. She ruled supremely, but she was robbed of her powers by a male-dominated group of warrior gods.2 In the present study the term Great Goddess does not pertain to the reconstructed archetype but to a female godhead of great stature, as exemplified by the Mediterranean divinities. In the definition of this essay such a goddess is a many-layered creature who does not belong to the faith of simple men. She arises when smaller communities have been gathered to form a kingdom or a state, and many local deities have merged in her persona. From the close protectress of a village lad she would become the companion of a king. The entrance of foreign forces and influences from abroad would have worked their way upon the figure. Intellectuals and priests would have left their impact on her shape. In this paper I wish to trace the presence of this kind of deity among the Germanic peoples and to explore her composition. Schol ars of Germanic myth have, on the whole, paid little attention to female godheads, and a study, as the one at hand, has as yet not been undertaken. -
Freyja and Freyr: Successors of the Sun
Freyja and Freyr: Successors of the Sun On the absence of the sun in Nordic saga literature Lan Wang Department of Linguistics and Scandinavian Studies UNIVERSITETET I OSLO 28, 05, 2017 Freyja and Freyr: Successors of the Sun On the absence of the sun in Nordic saga literature Lan Wang Department of Linguistics and Scandinavian Studies UNIVERSITETET I OSLO 28, 05, 2017 Summary Comparing the sagas and those two Eddas, there is a significant difference that the Sun is only regarded as a physical object in sagas, while many narrations of the goddess Sól exist in both the Poetic Edda and the Prose Edda, though far less frequent than that of those main gods, such as Freyja, Freyr, Odin and so on. Here comes the question why the Sun is missing in Nordic saga literature, considering its vital role in the religious life in Bronze Age North. By investigating the sun worship in the Bronze Age, as well as those historical and legendary works, such as Germania, History of the Archbishops of Hamburg-Bremen, Poetic Edda, Prose Edda, and Ynglings Saga, and so on, I conclude that there is a strong connection among the Sun, Nerthus-Njǫrðr, and Freyja-Freyr. Nerthus travels on her wagon and brings peace and good seasons to people, while Njǫrðr, the male counterpart of Nerthus, was worshiped as the protector of maritime. Both of these two features could have been derived from the course of the Sun through the sky during the day on the sun-chariot, and through the underworld at night, maybe on a ship, which can also be interpreted as a metaphor of the regeneration of plants and crops, and even connected with the journey from This World to the Other World.