An. Edition and Coinmentary. by Carolyn Ann Pearce, BA a Thesis

Total Page:16

File Type:pdf, Size:1020Kb

An. Edition and Coinmentary. by Carolyn Ann Pearce, BA a Thesis Griïïinismàl : An. Edition and Coinmentary. by Carolyn Ann Pearce, B.A. A thesis presented to the Faculty of Arts of the University of London in candidature for the degree of Master of Philosophy. Royal Hollov/ay College, (University of London), Englefield Green, Surrey. March 1972 ProQuest Number: 10096427 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. uest. ProQuest 10096427 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 In that strange island Iceland,...where of all places we least looked for Literature or written memorials, the record of these things was written dovm. (Thomas Carlyle) Abstract. This thesis offered for the degree of Master of Philosophy is about Griranismal, an Eddaic mythological poem. Tv/o versions of the text have been prepared from the manuscripts. One is a diplomatic text while facing it is a version based on thirteenth\forms of the language. Variant readings are given in footnotes. The introduction supplies information on the contents and history of the two manuscripts containing this poem, discusses their possible age and provenance, and examines style and metre. Further, problems of possible interpolation are considered, as are the literary aspects of the poem. The plot of Grimnismal is traced through the poem while the various motifs in the prose framework are related to other literary works or to folklore. Finally, the introduction considers the paleography and orthography as well as the vocabulary of the poem while the linguistic relationship of the poem with its prose is examined. The commentary attempts to provides etymologies and explanations of the many proper names in the text and to identify the people, animals and places mentioned therein. References to both the introduction and the coimnentary and a translation complete the apparatus. Acknowledgements The author wishes to ocpress her gratitude to Dr. M. VVakelin for advice and guidance during the preparation of this thesis and to the Department of Scandinavian Studies, University College, for invaluable help and the use of their library. Thanlcs are also due to my husband Robert and my parents for encouragement and support. The receipt of a University of London Scholarship is gratefully acknowledged. Table of Contents. INTRODUCTION 6 i) General Introduction 7 ii) Grimnismal 35 iii) References 54 GRÏIIiriSîiÆL 60 i) Introduction 61 ii) Texts 62 iii) Abbreviations 104 iv) Commentary 107 v) References 210 APPENDIX 219 i) Translation 220 Bibliography 228 INTRODUCTION 7 INTRODUCTION General Introduction The Manuscripts. There are only two MSS older than the seventeenth century which contain a collection of mythological and heroic poems, knov/n by various titles, Sæmund*s Edda, the Poetic Edda or the Elder Edda ( a short discussion of the use and validity of these titles follov/s later). The first, and most important, MS in size and content is Codex Regius No. 2365, 4to (hereafter often abbreviated as R). It is composed of forty-five leaves, which are divided into six gatherings. The first five cont|5\a^ eight leaves and the last only five. The pages of the MS are approximately nineteen centimetres long and thirteen centimetres wide.^ The total number of written pages is 90 and the MS is obviously complete at beginning and end. There is a gap between the fourth and fifth gatherings which must represent a missing eight leaves, since both the fourth and fifth are complete. This lost gathering dealt with the Sigurd stories, as may be seen by a comparison the text with the prose Vplsungasaga, which deals with the same legends but supplies more material than thal given in R. The MS was written by one man whose handwriting, 2 according to Gustaf Lindblad, corresponds best with 8 that in a fragment of a Heimskringla MS, Kringla (Stockholm KB perg 9 fol), and hand A of the legal Stadarholsbok (Am 334 fol) which are believed to have been copied by the same scribe. However, the scribe of Codex Regius is not the same man and there has been no other example of his handwriting found in the extant Old Icelandic documents. Although the MS is certainly the work of one man, yet it varies a great deal in writing and in the use of certain letter types. Lindblad remarks on this : "Sjâlv har jag sârskilt fStst mig vid de varierande typema av storbokstâver, de varierande v/y typerna..., och de vâxlande huvudformema av fbrkortningstecknet fbr ok. " ^ This last indeed seems remarkable, that the scribe of R should be so inconsistent, in contrast to most other MSS, even in his representation of very common words. Such facts do not help us to form any conclusions about this writer, yet scholars such as Ludwig Wimmer and Finnur Jonsson^ have praised him for his learning and his plain but beautiful style. They refer to examples in the MS of "den lethed, hvormed skriveren forstar at overvinde kalligrafiske vaijkeligheder.” Lindblad also says of him: "Han har tydligen en viss estetisk lâggning.’*-^ This, however, is about all that is certain of the scribe of Codex Regius. The date of the MS can now be set at ca. 1270 on paleographic and orthographic grounds, which have been the objects of thorough research by Gustaf Lindblad, and this can be confirmed to some extent by the MS’s correspondence, paleographically, with Kringla and Stadarholsbok A, which date almost certainly to between 1265 and 1280. With regard to place of origin there is little to suggest where the MS could have been written. Lindblad^ finds some north-western Icelandic character­ istics present, but this is not enough to prove that it came into existence there or that the scribe came from that area, since these characteristics may derive from an older MS^ The MS is not a direct copy from oral traditions. Certain features point to copying from an older MS, or MSS. This may be seen, for example, in the occurrence of a half strophe twice in strophes 9 and 10 in Grimnismal, v^fhere the first time it is abbreviated in the MS and the second time written out in full. This is obviously a reversal of that in the original, as tie scribe’s correction marks confirm. Furthermore, a definite paleographic and orthographic boundary may be recognized between the two main sections of the work, the mythological and heroic poems, as well as noticeable differences between individual poems, which have been recorded by Lindblad. This seems to indicate the existence of several MSS, previously containing single poems or small collections, which have been gathered together either immediately before the Codex Regius was written, or perhaps before the model on which R is based was v/ritten. It is impossible to be more definite than this with regard to MSS which no longer exist and whose only traces can be faintly perceived in a later extant vellum. The immediate source for the Codex Regius (here­ after referred to as the original or *R) cannot be older than the beginning of the thirteenth century 7 according to Lindblad . His results seem the soundest o and most convincing, although Finnur Jonsson believed 10 R to be copied from a MS dating from ca. 1200 or somewhat earlier and D. A. Seip^ presented a case for the original poems being Norwegian and supposed them to be transcribed at the end of the twelfth century. Lindblad does not deny that there must have been a general Norwegian influence on the poems but xian find no definite proof of a Norwegian linguistic basis. It seems reasonable to assume that the MSS of the poems are Icelandic,what­ ever the origins of the poems themselves. The fragment of a M8!y v^hich contains part of the same poem collection in a slightly different form, is preserved in MS Am 748 I, 4to (hereafter often abbrev­ iated as A), of the Amamagnæan collection in the University Library of Copenhagen. The MS as a v/hole is composed of twenty-eight leaves in four gatherings but only the first six leaves contain Eddaic poems. The beginning of the vellum is lost and the first surviving leaf begins within Harbardsljog. Three complete poems are preserved which are also found in Codex Regius: Skimismal, Grimnismal and Hymiskvida# Part of Vaf- ÿrugnismàl and the first lines of the prose introduction to Vq lundarkvida also survive, besides a poem which does not appear in R, Baldrs draumar. The rest of the MS contains: Snorri Sturluson’s Edda and some other pieces, but it is clear from the contents of the first six leaves, that more of the Edda poem collection originally was present and it is possible that this included the heroic poems as well. The MS is younger than Codex Regius and from linguistic forms is thought to have been copied down in the first quarter of the fourteenth century. It is not copied from R but possibly derives from the same 11 original. Its differences from R clearly overrule any possibility of copying but where the two MSS diverge it is likely that first one, then the other, may preserve the more correct version. That they both stem from the same original seems verified by such evidence as strophe 44 in Grimnismal, where in 1.6 both have jegis and in 1.7 both have œgis.
Recommended publications
  • 13. the Solar Antler in Sólarljóð
    The Waning Sword E Conversion Imagery and Celestial Myth in Beowulf DWARD The Waning Sword Conversion Imagery and EDWARD PETTIT P The image of a giant sword mel� ng stands at the structural and thema� c heart of the Old ETTIT Celestial Myth in Beowulf English heroic poem Beowulf. This me� culously researched book inves� gates the nature and signifi cance of this golden-hilted weapon and its likely rela� ves within Beowulf and beyond, drawing on the fi elds of Old English and Old Norse language and literature, liturgy, archaeology, astronomy, folklore and compara� ve mythology. In Part I, Pe� t explores the complex of connota� ons surrounding this image (from icicles to candles and crosses) by examining a range of medieval sources, and argues that the giant sword may func� on as a visual mo� f in which pre-Chris� an Germanic concepts and prominent Chris� an symbols coalesce. In Part II, Pe� t inves� gates the broader Germanic background to this image, especially in rela� on to the god Ing/Yngvi-Freyr, and explores the capacity of myths to recur and endure across � me. Drawing on an eclec� c range of narra� ve and linguis� c evidence from Northern European texts, and on archaeological discoveries, Pe� t suggests that the T image of the giant sword, and the characters and events associated with it, may refl ect HE an elemental struggle between the sun and the moon, ar� culated through an underlying W myth about the the� and repossession of sunlight. ANING The Waning Sword: Conversion Imagery and Celesti al Myth in Beowulf is a welcome contribu� on to the overlapping fi elds of Beowulf-scholarship, Old Norse-Icelandic literature and Germanic philology.
    [Show full text]
  • Number Symbolism in Old Norse Literature
    Háskóli Íslands Hugvísindasvið Medieval Icelandic Studies Number Symbolism in Old Norse Literature A Brief Study Ritgerð til MA-prófs í íslenskum miðaldafræðum Li Tang Kt.: 270988-5049 Leiðbeinandi: Torfi H. Tulinius September 2015 Acknowledgements I would like to thank firstly my supervisor, Torfi H. Tulinius for his confidence and counsels which have greatly encouraged my writing of this paper. Because of this confidence, I have been able to explore a domain almost unstudied which attracts me the most. Thanks to his counsels (such as his advice on the “Blóð-Egill” Episode in Knýtlinga saga and the reading of important references), my work has been able to find its way through the different numbers. My thanks also go to Haraldur Bernharðsson whose courses on Old Icelandic have been helpful to the translations in this paper and have become an unforgettable memory for me. I‟m indebted to Moritz as well for our interesting discussion about the translation of some paragraphs, and to Capucine and Luis for their meticulous reading. Any fault, however, is my own. Abstract It is generally agreed that some numbers such as three and nine which appear frequently in the two Eddas hold special significances in Norse mythology. Furthermore, numbers appearing in sagas not only denote factual quantity, but also stand for specific symbolic meanings. This tradition of number symbolism could be traced to Pythagorean thought and to St. Augustine‟s writings. But the result in Old Norse literature is its own system influenced both by Nordic beliefs and Christianity. This double influence complicates the intertextuality in the light of which the symbolic meanings of numbers should be interpreted.
    [Show full text]
  • Anglo-Saxon, Norse, and Celtic Tripos, 2017-18 Specified Subjects and Set Texts
    Anglo-Saxon, Norse, and Celtic Tripos, 2017-18 Specified subjects and set texts Preliminary examination for Part I The Faculty Board of English gives notice of the following set texts for the Preliminary examination for Part I of the Anglo-Saxon, Norse, and Celtic Tripos, 2018. Paper 5. Old English language and literature A selection from the following: Ælfric’s Translation of Genesis: The Fall of Man; Cynewulf and Cyneheard; Alfred the Great’s Preface to his Translation of Gregory’s Pastoral Care; Bede’s Account of the Poet Cædmon; The Battle of Maldon; The Dream of the Rood; The Wanderer; The Wife’s Lament; Wulf and Eadwacer. All these texts ed. B. Mitchell and F. C. Robinson, A Guide to Old English, Eighth Edition (Oxford, 2012). Paper 6. Old Norse language and literature A selection from the following: Excerpts from Hrólfs saga kraka, Snorra Edda, Íslendinga saga, Þrymskviða and Íslendingabók in Anthony Faulkes, ed., A New Introduction to Old Norse (London, 2000). Paper 7. Medieval Welsh language and literature A selection from the following: Pwyll Pendeuic Dyuet, ed. R. L. Thomson; Branwen Uerch Lyr, ed. D. S. Thomson: Cyfranc Lludd a Llefelys, ed. B. F. Roberts. Paper 8. Medieval Irish language and literature R. Thurneysen, Old Irish Reader, pp. 22-4 (nos. 1-8), 33-41; Scéla Mucce Meic Dathó (ed. R. Thurneysen). Paper 9. Insular Latin language and literature A selection from the following: Ælfric, Colloquium, cc. 1-6, 11-15; Ælfric Bata, Colloquia, cc. 1-3, 6, 9; Alcuin, Carmina i. 1562-1657, xiii, xvi- xvii, xxiii, xxxii, xl, lx, lxi; Alcuinian correspondence, Letters x, lxv, lxvi, cxciii, ccxxix; Bede, Historia ecclesiastica III.5-6; Bonifatian correspondence, Letters xiii, xv, xxvii, xxix, xxx, cxliii; De raris fabulis, cc.
    [Show full text]
  • “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.
    [Show full text]
  • Suffolk Institute of Archaeology and Natural History
    Proceedingsof the SUFFOLK INSTITUTE OF ARCHAEOLOGY AND NATURAL HISTORY 4 °4vv.es`Egi vI V°BkIAS VOLUME XXV, PART 1 (published 1950) PRINTED FOR THE SOCIETY BY W. E. HARRISON & SONS, LTD., THE ANCIENT HOUSE, IPSWI611. The costof publishing this paper has beenpartially defrayedby a Grant from the Council for British Archeology. THE SUTTON HOO SHIP-BURIAL Recenttheoriesand somecommentsongeneralinterpretation By R. L. S. BRUCE-MITFORD, SEC. S.A. INTRODUCTION The Sutton Hoo ship-burial was discovered more than ten years ago. During these years especially since the end of the war in Europe has made it possible to continue the treatment and study of the finds and proceed with comparative research, its deep significance for general and art history, Old English literature and European archmology has become more and more evident. Yet much uncertainty prevails on general issues. Many questions cannot receive their final answer until the remaining mounds of the grave-field have been excavated. Others can be answered, or at any rate clarified, now. The purpose of this article is to clarify the broad position of the burial in English history and archmology. For example, it has been said that ' practically the whole of the Sutton Hoo ship-treasure is an importation from the Uppland province of Sweden. The great bulk of the work was produced in Sweden itself.' 1 Another writer claims that the Sutton Hoo ship- burial is the grave of a Swedish chief or king.' Clearly we must establish whether it is part of English archxology, or of Swedish, before we can start to draw from it the implications that we are impatient to draw.
    [Show full text]
  • University of London Deviant Burials in Viking-Age
    UNIVERSITY OF LONDON DEVIANT BURIALS IN VIKING-AGE SCANDINAVIA Ruth Lydia Taylor M. Phil, Institute of Archaeology, University College London UMI Number: U602472 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 U602472 Published by ProQuest LLC 2014. 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 ABSTRACT DEVIANT BURIALS IN VIKING-AGE SCANDINAVIA The thesis brings together information yielded from archaeology and other sources to provide an overall picture of the types of burial practices encountered during the Viking-Age in Scandinavia. From this, an attempt is made to establish deviancy. Comparative evidence, such as literary, runic, legal and folkloric evidence will be used critically to shed perspective on burial practices and the artefacts found within the graves. The thesis will mostly cover burials from the Viking Age (late 8th century to the mid- 11th century), but where the comparative evidence dates from other periods, its validity is discussed accordingly. Two types of deviant burial emerged: the criminal and the victim. A third type, which shows distinctive irregularity yet lacks deviancy, is the healer/witch burial.
    [Show full text]
  • WAGNER and the VOLSUNGS None of Wagner’S Works Is More Closely Linked with Old Norse, and More Especially Old Icelandic, Culture
    WAGNER AND THE VOLSUNGS None of Wagner’s works is more closely linked with Old Norse, and more especially Old Icelandic, culture. It would be carrying coals to Newcastle if I tried to go further into the significance of the incom- parable eddic poems. I will just mention that on my first visit to Iceland I was allowed to gaze on the actual manuscript, even to leaf through it . It is worth noting that Richard Wagner possessed in his library the same Icelandic–German dictionary that is still used today. His copy bears clear signs of use. This also bears witness to his search for the meaning and essence of the genuinely mythical, its very foundation. Wolfgang Wagner Introduction to the program of the production of the Ring in Reykjavik, 1994 Selma Gu›mundsdóttir, president of Richard-Wagner-Félagi› á Íslandi, pre- senting Wolfgang Wagner with a facsimile edition of the Codex Regius of the Poetic Edda on his eightieth birthday in Bayreuth, August 1999. Árni Björnsson Wagner and the Volsungs Icelandic Sources of Der Ring des Nibelungen Viking Society for Northern Research University College London 2003 © Árni Björnsson ISBN 978 0 903521 55 0 The cover illustration is of the eruption of Krafla, January 1981 (Photograph: Ómar Ragnarsson), and Wagner in 1871 (after an oil painting by Franz von Lenbach; cf. p. 51). Cover design by Augl‡singastofa Skaparans, Reykjavík. Printed by Short Run Press Limited, Exeter CONTENTS PREFACE ............................................................................................ 6 INTRODUCTION ............................................................................... 7 BRIEF BIOGRAPHY OF RICHARD WAGNER ............................ 17 CHRONOLOGY ............................................................................... 64 DEVELOPMENT OF GERMAN NATIONAL CONSCIOUSNESS ..68 ICELANDIC STUDIES IN GERMANY .........................................
    [Show full text]
  • The Prose Edda
    THE PROSE EDDA SNORRI STURLUSON (1179–1241) was born in western Iceland, the son of an upstart Icelandic chieftain. In the early thirteenth century, Snorri rose to become Iceland’s richest and, for a time, its most powerful leader. Twice he was elected law-speaker at the Althing, Iceland’s national assembly, and twice he went abroad to visit Norwegian royalty. An ambitious and sometimes ruthless leader, Snorri was also a man of learning, with deep interests in the myth, poetry and history of the Viking Age. He has long been assumed to be the author of some of medieval Iceland’s greatest works, including the Prose Edda and Heimskringla, the latter a saga history of the kings of Norway. JESSE BYOCK is Professor of Old Norse and Medieval Scandinavian Studies at the University of California, Los Angeles, and Professor at UCLA’s Cotsen Institute of Archaeology. A specialist in North Atlantic and Viking Studies, he directs the Mosfell Archaeological Project in Iceland. Prof. Byock received his Ph.D. from Harvard University after studying in Iceland, Sweden and France. His books and translations include Viking Age Iceland, Medieval Iceland: Society, Sagas, and Power, Feud in the Icelandic Saga, The Saga of King Hrolf Kraki and The Saga of the Volsungs: The Norse Epic of Sigurd the Dragon Slayer. SNORRI STURLUSON The Prose Edda Norse Mythology Translated with an Introduction and Notes by JESSE L. BYOCK PENGUIN BOOKS PENGUIN CLASSICS Published by the Penguin Group Penguin Books Ltd, 80 Strand, London WC2R 0RL, England Penguin Group (USA) Inc.,
    [Show full text]
  • September 2017 N°17
    ISSN 2499-1341 EXPRESSION quarterly e-journal of atelier in cooperation with uispp-cisenp. international scientific commission on the intellectual and spiritual expressions of non-literate peoples N°17 September 2017 CULT SITES AND ART Anthropomorphic face on the entrance slab of a circular ceremonial structure from Har Karkom, Negev desert, Israel (Pre-pottery Neolithic site BK 608). EDITORIAL NOTES accompany them. What echoes accompanied CULT SITES the paintings in the prehistoric caves? What performances, if any, were taking place in front AND ART of the decorated rock surfaces? The visual art stresses myths, mythical beings Walking along a narrow trail, on the edge of and/or historical facts, which are related to the a steep valley in the middle of a deep forest, cult and to the sanctity of the site. It is the visual we suddenly heard noises of human presen- memory that justifes the function of the site. ce, voices that were neither speeches nor son- Was it the same in prehistoric times? In front of gs, something in between. We reached a cave where a number of people were assembled in rock art sites, in the Camonica Valley, Italy, or a corner and an old bearded man was standing in Kakadu in Arnhem Land, Australia, or in the on an upper step of the rock talking ... perhaps Drakensberg caves, South Africa, or in the Al- talking, perhaps declaiming, perhaps singing, tamira cave, Spain, the presence of prehistoric but not to the people below. He was talking or art awakens a sense of sacredness, we feel that performing or praying in front of a white rock these were and are special places but ..
    [Show full text]
  • An Encapsulation of Óðinn: Religious Belief and Ritual Practice Among The
    An Encapsulation of Óðinn: Religious belief and ritual practice among the Viking Age elite with particular focus upon the practice of ritual hanging 500 -1050 AD A thesis presented in 2015 for the degree of Doctor of Philosophy in Scandinavian Studies at the University of Aberdeen by Douglas Robert Dutton M.A in History, University of Aberdeen MLitt in Scandinavian Studies, University of Aberdeen Centre for Scandinavian Studies The University of Aberdeen Summary The cult surrounding the complex and core Old Norse deity Óðinn encompasses a barely known group who are further disappearing into the folds of time. This thesis seeks to shed light upon and attempt to understand a motif that appears to be well recognised as central to the worship of this deity but one rarely examined in any depth: the motivations for, the act of and the resulting image surrounding the act of human sacrifice or more specifically, hanging and the hanged body. The cult of Óðinn and its more violent aspects has, with sufficient cause, been a topic carefully set aside for many years after the Second World War. Yet with the ever present march of time, we appear to have reached a point where it has become possible to discuss such topics in the light of modernity. To do so, I adhere largely to a literary studies model, focussing primarily upon eddic and skaldic poetry and the consistent underlying motifs expressed in conjunction with descriptions of this seemingly ritualistic act. To these, I add the study of legal and historical texts, linguistics and contemporary chronicles.
    [Show full text]
  • Sniðmát Meistaraverkefnis HÍ
    MA ritgerð Norræn trú Að hitta skrímslið í skóginum Animal Shape-shifting, Identity, and Exile in Old Norse Religion and World-view Caroline Elizabeth Oxley Leiðbeinandi: Terry Adrian Gunnell Október 2019 Að hitta skrímslið í skóginum Animal Shape-shifting, Identity, and Exile in Old Norse Religion and World-view Caroline Elizabeth Oxley Lokaverkefni til MA–gráðu í Norrænni trú Leiðbeinandi: Terry Adrian Gunnell 60 einingar Félags– og mannvísindadeild Félagsvísindasvið Háskóla Íslands Október, 2019 Að hitta skrímslið í skóginum Ritgerð þessi er lokaverkefni til MA-gráðu í Norrænni trú og er óheimilt að afrita ritgerðina á nokkurn hátt nema með leyfi rétthafa. © Caroline Elizabeth Oxley, 2019 Prentun: Háskólaprent Reykjavík, Ísland, 2019 Caroline Oxley MA in Old Nordic Religion: Thesis Kennitala: 181291-3899 Október 2019 Abstract Að hitta skrímslið í skóginum: Animal Shape-shifting, Identity, and Exile in Old Norse Religion and World-view This thesis is a study of animal shape-shifting in Old Norse culture, considering, among other things, the related concepts of hamr, hugr, and the fylgjur (and variations on these concepts) as well as how shape-shifters appear to be associated with the wild, exile, immorality, and violence. Whether human, deities, or some other type of species, the shape-shifter can be categorized as an ambiguous and fluid figure who breaks down many typical societal borderlines including those relating to gender, biology, animal/ human, and sexual orientation. As a whole, this research project seeks to better understand the background, nature, and identity of these figures, in part by approaching the subject psychoanalytically, more specifically within the framework established by the Swiss psychoanalyst, Carl Jung, as part of his theory of archetypes.
    [Show full text]
  • 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 .......................................................................................................
    [Show full text]