The Kensington Rune Stone: a Study Guide
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Runestone Images and Visual Communication
RUNESTONE IMAGES AND VISUAL COMMUNICATION IN VIKING AGE SCANDINAVIA MARJOLEIN STERN, MA Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy JULY 2013 Abstract The aim of this thesis is the visual analysis of the corpus of Viking Age Scandinavian memorial stones that are decorated with figural images. The thesis presents an overview of the different kinds of images and their interpretations. The analysis of the visual relationships between the images, ornamentation, crosses, and runic inscriptions identifies some tendencies in the visual hierarchy between these different design elements. The contents of the inscriptions on runestones with images are also analysed in relation to the type of image and compared to runestone inscriptions in general. The main outcome of this analysis is that there is a correlation between the occurrence of optional elements in the inscription and figural images in the decoration, but that only rarely is a particular type of image connected to specific inscription elements. In this thesis the carved memorial stones are considered as multimodal media in a communicative context. As such, visual communication theories and parallels in commemoration practices (especially burial customs and commemorative praise poetry) are employed in the second part of the thesis to reconstruct the cognitive and social contexts of the images on the monuments and how they create and display identities in the Viking Age visual communication. Acknowledgements Many people have supported and inspired me throughout my PhD. I am very grateful to my supervisors Judith Jesch and Christina Lee, who have been incredibly generous with their time, advice, and bananas. -
Proposed Additions Red = Proposed Changes Green = Other Possible Additions Black = Existing/Unchanged
ISO/IEC JTC 1/SC 2/WG 2 PROPOSAL SUMMARY FORM TO ACCOMPANY SUBMISSIONS FOR ADDITIONS TO THE REPERTOIRE OF ISO/IEC 106461 Please fill all the sections A, B and C below. Please read Principles and Procedures Document (P & P) from http://www.dkuug.dk/JTC1/SC2/WG2/docs/principles.html for guidelines and details before filling this form. Please ensure you are using the latest Form from http://www.dkuug.dk/JTC1/SC2/WG2/docs/summaryform.html. See also http://www.dkuug.dk/JTC1/SC2/WG2/docs/roadmaps.html for latest Roadmaps. A. Administrative 1. Title: Ms 2. Requester's name: Małgorzata Deroń 3. Requester type (Member body/Liaison/Individual contribution): Individual 4. Submission date: 4 September 2009 5. Requester's reference (if applicable): http://ifa.amu.edu.pl/fa/Deron_Malgorzata 6. Choose one of the following: This is a complete proposal: Yes (or) More information will be provided later: If needed B. Technical – General 1. Choose one of the following: a. This proposal is for a new script (set of characters): - Proposed name of script: b. The proposal is for addition of character(s) to an existing block: Yes Name of the existing block: Runic 16A0-16FF (for 16F1-16FF) 2. Number of characters in proposal: 15 + 1 change 3. Proposed category (select one from below - see section 2.2 of P&P document): A-Contemporary - B.1-Specialized (small collection) X B.2-Specialized (large collection) - C-Major extinct - D-Attested extinct - E-Minor extinct - F-Archaic Hieroglyphic or Ideographic - G-Obscure or questionable usage symbols - 4. -
The Brill Typeface User Guide & Complete List of Characters
The Brill Typeface User Guide & Complete List of Characters Version 2.06, October 31, 2014 Pim Rietbroek Preamble Few typefaces – if any – allow the user to access every Latin character, every IPA character, every diacritic, and to have these combine in a typographically satisfactory manner, in a range of styles (roman, italic, and more); even fewer add full support for Greek, both modern and ancient, with specialised characters that papyrologists and epigraphers need; not to mention coverage of the Slavic languages in the Cyrillic range. The Brill typeface aims to do just that, and to be a tool for all scholars in the humanities; for Brill’s authors and editors; for Brill’s staff and service providers; and finally, for anyone in need of this tool, as long as it is not used for any commercial gain.* There are several fonts in different styles, each of which has the same set of characters as all the others. The Unicode Standard is rigorously adhered to: there is no dependence on the Private Use Area (PUA), as it happens frequently in other fonts with regard to characters carrying rare diacritics or combinations of diacritics. Instead, all alphabetic characters can carry any diacritic or combination of diacritics, even stacked, with automatic correct positioning. This is made possible by the inclusion of all of Unicode’s combining characters and by the application of extensive OpenType Glyph Positioning programming. Credits The Brill fonts are an original design by John Hudson of Tiro Typeworks. Alice Savoie contributed to Brill bold and bold italic. The black-letter (‘Fraktur’) range of characters was made by Karsten Lücke. -
Reading Runes in Late Medieval Manuscripts
Runrön Runologiska bidrag utgivna av Institutionen för nordiska språk vid Uppsala universitet 24 Beck, Wolfgang, 2021: Reading Runes in Late Medieval Manuscripts. In: Read ing Runes. Proceedings of the Eighth International Symposium on Runes and Runic Inscriptions, Nyköping, Sweden, 2–6 September 2014. Ed. by MacLeod, Mindy, Marco Bianchi and Henrik Williams. Uppsala. (Run rön 24.) Pp. 225–232. DOI: 10.33063/diva-438880 © 2021 Wolfgang Beck (CC BY) WOLFGANG BECK Reading Runes in Late Medieval Manuscripts Abstract Whilst the runica manuscripta of English tradition, the Scandinavian rune poems, and the occasional use of runes as writers’ signatures and in the Old High German glosses have been comparatively well-researched, this does not apply to the same extent to the use of runes in late medieval (German) manuscripts. Runes and runic alphabets are found far less frequently in these, for example in the foreign alphabets in the Voyages by Sir John Mandeville or in a manuscript with medical remedies and an invocation of the devil; finally also in a magical treatise relating to the hermetic tradition. However, the use of runes in late medieval manuscripts cannot properly be explained by the functions usually attributed to the runica manuscripta. On the understanding that discussion of runica manuscripta is not just a runic problem in the narrow sense, but can also contribute to an understanding of medieval culture, the specific implications of the use and pragmatics of the late medieval runica manuscripta will be explored. The func- tion of runes in late medieval manuscripts should be determined at the same time with reference to secret written forms, readability and illegibility. -
Elder Futhark Rune Poem and Some Notes RYKHART: ODINSXRAL
Elder Futhark Rune Poem and some notes RYKHART: ODINSXRAL Dedication Mysteries ancient, Allfather found Wrested from anguish, nine days fast bound Hung from the world tree, pierced by the spear Odin who seized them, make these staves clear 1 Unless otherwise specified, all text and artwork within ELDER FUTHARK RUNE POEM and some notes RYKHART: ODINSXRAL are copyright by the author and is not to be copied or reproduced in any medium or form without the express written permission of the author Reikhart Odinsthrall both Reikhart Odinsthrall and RYKHART: ODINSXRAL are also both copyright Dec 31, 2013 Elder Futhark Rune Poem by Reikhart Odinsthrall is licensed under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. Based on a work at http://odinsthrall.co.uk/rune-poem.html. 2 F: Fehu : Cattle / Wealth Wealth is won and gold bestowed But honour's due to all men owed Gift the given and ware the lord For thy name's worth noised abroad U: Uruz : Aurochs / Wild-ox Wild ox-blood proud, sharp hornéd might On moorland harsh midst sprite and wight Unconquered will and fierce in form Through summer's sun and winter's storm X: Thurisaz : Thorn / Giant / Thor Thorn hedge bound the foe repelled A giant's anger by Mjolnir felled Thor protect us, fight for troth In anger true as Odin's wrath A: Ansuz : As / God / Odin In mead divine and written word In raven's call and whisper heard Wisdom seek and wise-way act In Mimir's well see Odin's pact R: Raidho : Journey / Carriage By horse and wheel to travel far Till journey's -
Smithsonian Miscellaneous Collections
SMITHSONIAN MISCELLANEOUS COLLECTIONS VOLUME 116, NUMBER 3 TWO RUNIC STONES, FROM GREENLAND AND MINNESOTA BY WILLIAM THALBITZER (Publication 4021) CITY OF WASHINGTON PUBLISHED BY THE SMITHSONIAN INSTITUTION AUGUST 30, 1951 SMITHSONIAN MISCELLANEOUS COLLECTIONS VOLUME 116, NUMBER 3 TWO RUNIC STONES, FROM GREENLAND AND MINNESOTA BY WILLIAM THALBITZER (Publication 4021) CITY OF WASHINGTON PUBLISHED BY THE SMITHSONIAN INSTITUTION AUGUST 30, 1951 %§& £oro (gattimovt (pttee BALTIMORE, MD., U. 8. A. — . TWO RUNIC STONES, FROM GREENLAND AND MINNESOTA* By WILLIAM THALBITZER Copenhagen, Denmark CONTENTS Page Introduction 2 I. The Kingigtorssuaq stone from the neighborhood of Upernavik, northwest Greenland 6 II. The Kensington stone 14 Historical background 14 The Kensington runes and the numeral signs 18 Paleographic signs 23 The Dalecarlian runes and the H-rune 26 The linguistic form 28 Old Swedish 29 Archaisms 32 Neologisms 35 The style 39 Further philological impressions 42 Appendix ( 1950) 49 Three historic documents 49 Final comments on the Danish treatise (1946- 1947) 51 Notes 54 1. The Greenland runes as carved on stone or wood in Greenland. 54 2. The secret runes on the Kingigtorssuaq stone 54 3. Singular runes on the Kensington stone, X a°d f" 56 4. © =oe 57 5. Opdagelsefaerd 57 skiar or ? ( scar, "cliff, rock" ) 6- H ^1 f X R — Eng. 58 7. rise = Modern Sw. resa, "journey, (warlike) expedition" 59 8. at se aptir, "to look after, guard, superintend (the ships)".... 61 9. dagh rise, "day's journey" 61 10. The style 62 11. Medieval Swedish-Norwegian mixed language 63 12. Old Swedish as a hypothetical problem 64 13. -
Runic and Latin Written Culture: Co-Existence and Interaction of Two Script Cultures in the Norwegian Middle Ages
Eberhard Karls Universität Tübingen Deutsches Seminar Abteilung für Skandinavistik Magisterarbeit Runic and Latin Written Culture: Co-Existence and Interaction of Two Script Cultures in the Norwegian Middle Ages Eingereicht von Stephanie Elisabeth Baur zur Erlangung des Grades Magistra Artium im Fachbereich Nordische Philologie Eingereicht am: 14. Juni 2011 1. Gutachterin: Prof. Dr. Stefanie Gropper 2. Gutachterin: Prof. Dr. Antje Wischmann TABLE OF CONTENTS 1 INTRODUCTION 1 2 CHANGING PERSPECTIVES IN RUNOLOGICAL RESEARCH: A HISTORICAL OVERVIEW 6 2.1 Prelude: Medieval Theoretical Treatments of Runes 7 2.2 Early Modern Runological Research 8 2.3 The 19th Century: The Beginnings of Modern Runology 10 2.4 Runological Research in the 20th Century 13 2.5 Paradigmatic Change: From Magic Script to Functional Writing System 14 3 METHOD AND CLASSIFICATION 18 3.1 Some Preliminary Remarks on Runology and Method 18 3.2 Basic Methodological Procedures 19 3.3 Principles for Transliteration 21 3.4 Identification of Runic Inscriptions: The Corpus Editions 24 3.5 Latin Runic Inscriptions 27 3.6 Definition of Terms 28 3.7 The Two-Script Culture of the Norwegian Middle Ages: 30 Establishing the Cultural Background 8 4 TWO SCRIPT SYSTEMS IN CONTACT: LEVELS OF IMPACT 38 4.1 Script System: Changes in the Fuþark 39 4.1.1 Preliminaries: The Concept behind the Viking Age Runes 40 4.1.2 Expansion of the Fuþark: Strategies and Motivation 43 4.1.3 Preliminary Conclusion 55 4.2 Writing Conventions: Consequences for Runic Orthography and Punctuation 57 4.2.1 Preliminaries: -
Runen Und Die Kommunikation Bei Den Germanen
UNIVERZA V MARIBORU FILOZOFSKA FAKULTETA Oddelek za germanistiko Diplomsko delo RUNEN UND DIE KOMMUNIKATION BEI DEN GERMANEN Mentorica: Kandidatka: red. prof. dr. Karmen Teržan Kopecky Nina Kolšek Maribor, 14.6.2010 0 Lektorica (nem): prof. Edith Pivc Lektorica (slo): Prof. Maja Laznik 0 Zahvala Zahvaljujem se moji mentorici za njen čas in Franciski za njeno potrpljenje. Ich bedanke mich bei meiner Mentorin für ihre Zeit und Franziska für ihre Geduld. I Zusammenfassung Völker, die Julius Cäsar in „De bello Gallico“ unter dem Namen Germanen vereinigte, stellte er als einfache Barbaren da, die nur Rauben und Jagen konnten. Dieses Bild, das Cäsar vor allem darum konstruierte, um Römer in Angst zu versetzen, blieb leider bis heute, obwohl uns die heutige Archäologie beweist, wie weit von der Realität es eigentlich entfernt ist. Auch über die Schriftlichkeit der Germanen sprechen wir normaler weise erst von seit der Entstehung verschiedener Handschriften in Klöstern. Die Tatsache, dass die Germanen ihr eigenes Schriftsystem besaßen, der sich in einigen Gebieten bis ins 19. Jahrhundert erhielt, wird nicht oft erwähnt, wenn schon, dann nur in einigen Sätzen. Mit Hilfe der archäologischen Ausgrabungen und Untersuchungen der gefundenen Artefakte, sind wir heute in der Lage die Entwicklung der Runen von ihnen Anfängen als magische Zeichen bis zu ihrer Verwendung als ein Schriftsystem und Veränderung dessen über Jahrhunderte zu verfolgen. Die Germanen verwendeten ihr Schriftsystem sowohl für einfache Inschriften auf alltäglichen Gegenständen, als auch auf Gedenksteinen. Leider brachten die Veränderungen in ihrer Kultur und Religion auch eine neue Schrift, die die Tradition verdrängte, auf einigen gebieten schneller, auf anderen langsamer. Da, wo die Macht der Kirche nicht so groß war, verwendete man die Runen für das Einschreiben der Bitten und Gebete sowohl in Latein als auch in der Landessprache. -
Runestone Images and Visual Communication in Viking Age Scandinavia
Stern, Marjolein (2013) Runestone images and visual communication in Viking Age Scandinavia. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/14291/1/M_Stern_Thesis_without_images_new.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. This article is made available under the University of Nottingham End User licence and may be reused according to the conditions of the licence. For more details see: http://eprints.nottingham.ac.uk/end_user_agreement.pdf For more information, please contact [email protected] RUNESTONE IMAGES AND VISUAL COMMUNICATION IN VIKING AGE SCANDINAVIA MARJOLEIN STERN, MA Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy JULY 2013 Abstract The aim of this thesis is the visual analysis of the corpus of Viking Age Scandinavian memorial stones that are decorated with figural images. The thesis presents an overview of the different kinds of images and their interpretations. The analysis of the visual relationships between the images, ornamentation, crosses, and runic inscriptions identifies some tendencies in the visual hierarchy between these different design elements. The contents of the inscriptions on runestones with images are also analysed in relation to the type of image and compared to runestone inscriptions in general. The main outcome of this analysis is that there is a correlation between the occurrence of optional elements in the inscription and figural images in the decoration, but that only rarely is a particular type of image connected to specific inscription elements. -
Manx Runestones from Wikipedia, the Free Encyclopedia
24/12/2014 8:52 AM http://en.wikipedia.org/wiki/Manx_runestones Manx runestones From Wikipedia, the free encyclopedia The Manx runestones were made by the Norse population on the Isle of Man during the Viking Age, mostly in the 10th century. Despite its small size, the Isle of Man stands out with many Viking Age runestones, in 1983 numbering as many as 26 surviving stones, which can be compared to 33 in all of Norway.[1] So many of them may appear on the Isle of Man because of the merging of the immigrant Norse runestone tradition with the local Celtic tradition of raising high crosses.[1] In addition, the church contributed by not condemning the runes as pagan, but instead it encouraged the recording of people for Christian purposes. Sixteen of the stones bear the common formula, "N ... put up this cross in memory of M", but among the other ten there is also a stone raised for the benefit of the runestone raiser. The Manx runestones are consequently similar to the Scandinavian ones,[2] but whereas a Norwegian runestone is called "stone" in the inscriptions, even if it is in the shape of a cross, the runestones that were raised in the British isles are typically called "crosses".[3] There are also two slabs incised with Anglo-Saxon runes at Maughold.[4] Contents A map of the Scandinavian kingdom that included the Isle of Man at the end of the 11th century. 1 Andreas parish 2 Ballaugh parish 3 Lezayre parish 4 Braddan parish 5 Bride parish 6 Onchan parish 7 German parish 8 Jurby parish 9 Marown parish 10 Maughold parish 11 Michael parish 12 See also 13 Notes 14 References Andreas parish Br Olsen;183 (Andreas (I), MM 99) This runestone is a stone cross that is located in the church Andreas. -
Embercombe Course, Waking Dragons
WAKING DRAGONS - Summary Embercombe College - 2020 ©Andreas Kornevall I have written here below the rune-row in relations to the creation myth - as the runes have “Ur-Log” (Ur=Origin Log = Law) within their symbolism; such as the killing of Ymir, the harnessing of the giants powers to create and the debt to the Giants - the debt from the wild, the earth. There is also the law of reconciliation between opposing forces - the earth spirits and the sky Gods reconcile through the spit and tears to create wisdom in the seven worlds. Although this has not happened yet in our world. These laws (urlogs) are important to note as we go on with the material. Please add to these notes with your own thoughts, especially if you have your own regular practice, be it meditation or psychology. Some of the ideas presented should be questioned and filled with your own insights. As a word of advice try and learn the name of the runes (don’t worry about pronunciation, do the best you can) and their symbol from the creation story below. Do the best you can, if you can learn one or two per day that is enough pace. The first letter of the rune is always its linguistic value; DAGAZ is D, ASS is A, etc. Practice spelling your name with the runes in this way. Central to this knowledge, and especially esoteric knowledge, is the question: “what do you want and how much are you prepared to pay?” Nothing of value comes without a price, and wisdom, I am afraid (and according to all myths across the world) asks for a fair amount. -
3Rune Cards with Key Words
AQUARIUS WELLBEING (Lynn Boyle) Rune Cards with Key Words Deck – Card Meanings, History & Spreads The Elder Futhark Runes date from 2nd to 8th century AD. They were used for writing Proto-Norse in Western Europe, mostly in what is now Germany, Denmark & Scandinavia, but was never a spoken language. The Elder Futhark consists of 24 runes that were are arranged in 3 groups of 8; each group being referred to as an Ætt (Aett plural & singular Aettir after the English word for eight). The earliest known sequential listing of the full set of 24 runes dates to approximately AD 400 & is found on the Kylver Stone in Gotland, Sweden. Later developments produced the 25th rune, the blank rune called Wyrd or Odin’s rune. The runes were carved on stones, posts or clay tablets. Those carved on pebbles or clay were used for casting & divination, as an oracle, to determine the powers at play & the best action to take or understanding to have of a situation but usually not to foretell the far future. The asymmetrical runes, if falling upside-down were read with reversed meaning. The symmetrical runes traditionally had the same meaning upside-down or reversed (merkstave) but I have included reversed meanings if you wish to use them. The English word ‘alphabet’ comes from the 8irst two letters of the Greek alphabet 9 7alpha5 and 7beta5. Similarly, the Norse alphabet is alled 7Futhark5 after the sounds of the 8irst si/ hara ters) Fehu, :ruz, Thurisaz, ,nsuz, Raido and 1enaz. Their English e.uivalents are 7f5, 7u5, 7th5, 7a5, 7r5 and 7k5 – hen e 7Futhark5.