Runic Amulets and Magic Objects
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Epic and Romance Essays on Medieval Literature W
EPIC AND ROMANCE ESSAYS ON MEDIEVAL LITERATURE W. P. KER PREFACE These essays are intended as a general description of some of the principal forms of narrative literature in the Middle Ages, and as a review of some of the more interesting works in each period. It is hardly necessary to say that the conclusion is one "in which nothing is concluded," and that whole tracts of literature have been barely touched on--the English metrical romances, the Middle High German poems, the ballads, Northern and Southern--which would require to be considered in any systematic treatment of this part of history. Many serious difficulties have been evaded (in Finnesburh, more particularly), and many things have been taken for granted, too easily. My apology must be that there seemed to be certain results available for criticism, apart from the more strict and scientific procedure which is required to solve the more difficult problems of Beowulf, or of the old Northern or the old French poetry. It is hoped that something may be gained by a less minute and exacting consideration of the whole field, and by an attempt to bring the more distant and dissociated parts of the subject into relation with one another, in one view. Some of these notes have been already used, in a course of three lectures at the Royal Institution, in March 1892, on "the Progress of Romance in the Middle Ages," and in lectures given at University College and elsewhere. The plot of the Dutch romance of Walewein was discussed in a paper submitted to the Folk-Lore Society two years ago, and published in the journal of the Society (Folk-Lore, vol. -
Discourses of Decay and Purity in a Globalised Jazz World
1 Chapter Seven Cold Commodities: Discourses of Decay and Purity in a Globalised Jazz World Haftor Medbøe Since gaining prominence in public consciousness as a distinct genre in early 20th Century USA, jazz has become a music of global reach (Atkins, 2003). Coinciding with emerging mass dissemination technologies of the period, jazz spread throughout Europe and beyond via gramophone recordings, radio broadcasts and the Hollywood film industry. America’s involvement in the two World Wars, and the subsequent $13 billion Marshall Plan to rebuild Europe as a unified, and US friendly, trading zone further reinforced the proliferation of the new genre (McGregor, 2016; Paterson et al., 2013). The imposition of US trade and cultural products posed formidable challenges to the European identities, rooted as they were in 18th-Century national romanticism. Commercialised cultural representations of the ‘American dream’ captured the imaginations of Europe’s youth and represented a welcome antidote to post-war austerity. This chapter seeks to problematise the historiography and contemporary representations of jazz in the Nordic region, with particular focus on the production and reception of jazz from Norway. Accepted histories of jazz in Europe point to a period of adulatory imitation of American masters, leading to one of cultural awakening in which jazz was reimagined through a localised lens, and given a ‘national voice’. Evidence of this process of acculturation and reimagining is arguably nowhere more evident than in the canon of what has come to be received as the Nordic tone. In the early 1970s, a group of Norwegian musicians, including saxophonist Jan Garbarek (b.1947), guitarist Terje Rypdal (b.1947), bassist Arild Andersen (b.1945), drummer Jon Christensen (b.1943) and others, abstracted more literal jazz inflected reinterpretations of Scandinavian folk songs by Nordic forebears including pianist Jan Johansson (1931-1968), saxophonist Lars Gullin (1928-1976) bassist Georg Riedel (b.1934) (McEachrane 2014, pp. -
{PDF EPUB} ~Download Stave Churches in Norway by Dan Lindholm Stave Churches in Norway by Dan Lindholm
{Read} {PDF EPUB} ~download Stave Churches in Norway by Dan Lindholm Stave Churches in Norway by Dan Lindholm. Stave churches are an important part of Norway’s architectural heritage. Urnes Stave Church in the Sognefjord is a UNESCO World Heritage Site. A stave church is a medieval wooden Christian church building. The name is derived from the buildings’ structure of post and lintel construction which is a type of timber framing, where the load-bearing posts are called stafr in Old Norse and stav in Norwegian. Two related church building types are also named for their structural elements, the post church and palisade church, but are often also called stave churches. Lom Stave Church is one of the biggest and most beautiful stave churches in Norway. It dates back to the 12th century and is still in use. The church is closed during church services. The church in Vågå is also worth a visit. In and around the Jotunheimen national park you can find a lot of interesting stave churches: 1225 – 1250 Hedalen in Valdres 1235 – 1265 Øystre Slidre in Valdres 1235 – 1265 Vestre Slidre in Valdres 1225 – 1250 Vang in Valdres 1250 – 1300 Vang in Valdres 1290 – 1320 Reinli in Valdres 1225 – 1250 Lærdal beside the Sognefjord 1150 – 1175 Luster beside the Sognefjord 1180 Sogndal beside the Sognefjord 1190 – 1225 Vik beside the Sognefjord 1210 – 1240 Lom 1100 – 1630 Vågå. Visit Stave Churches. Borgund Stave Church. Built around 1180 and is dedicated to the Apostle Andrew. The church is exceptionally well preserved and is one of the most distinctive stave churches in Norway. -
Violence, Christianity, and the Anglo-Saxon Charms Laurajan G
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1-1-2011 Violence, Christianity, And The Anglo-Saxon Charms Laurajan G. Gallardo Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Gallardo, Laurajan G., "Violence, Christianity, And The Anglo-Saxon Charms" (2011). Masters Theses. 293. http://thekeep.eiu.edu/theses/293 This Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. *****US Copyright Notice***** No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. The user should review the copyright notice on the following scanned image(s) contained in the original work from which this electronic copy was made. Section 108: United States Copyright Law The copyright law of the United States [Title 17, United States Code] governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the reproduction is not to be used for any purpose other than private study, scholarship, or research. If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that use may be liable for copyright infringement. This institution reserves the right to refuse to accept a copying order if, in its judgment, fulfillment of the order would involve violation of copyright law. -
Exploring Your Surname Exploring Your Surname
Exploring Your Surname As of 6/09/10 © 2010 S.C. Meates and the Guild of One-Name Studies. All rights reserved. This storyboard is provided to make it easy to prepare and give this presentation. This document has a joint copyright. Please note that the script portion is copyright solely by S.C. Meates. The script can be used in giving Guild presentations, although permission for further use, such as in articles, is not granted, to conform with prior licenses executed. The slide column contains a miniature of the PowerPoint slide for easy reference. Slides Script Welcome to our presentation, Exploring Your Surname. Exploring Your Surname My name is Katherine Borges, and this presentation is sponsored by the Guild of One- Name Studies, headquartered in London, England. Presented by Katherine Borges I would appreciate if all questions can be held to the question and answer period at Sponsored by the Guild of One-Name Studies the end of the presentation London, England © 2010 Guild of One-Name Studies. All rights reserved. www.one-name.org Surnames Your surname is an important part of your identity. How did they come about This presentation will cover information about surnames, including how they came Learning about surnames can assist your about, and what your surname can tell you. In addition, I will cover some of the tools genealogy research and techniques available for you to make discoveries about your surname. Historical development Regardless of the ancestral country for your surname, learning about surnames can assist you with your genealogy research. Emergence of variants Frequency and distribution The presentation will cover the historical development of surnames, the emergence of variants, what the current frequency and distribution of your surname can tell you DNA testing to make discoveries about the origins, and the use of DNA testing to make discoveries about your surname. -
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. -
1999 ESSAY Pictish Matriliny?
WINNER OF THE SOCIETY'S 1999 ESSAY PRIZE Alasdair Ross Pictish Matriliny? In the first book of his Historia Ecclesiastica, written before 731, Bede described royal Pictish succession practices: Cumque uxores Picti non habentes peterent a Scottis, ea solum condicione dare consenserunt, ut ubi res ueniret in dubium, magis de feminea regum prosapia quam de masculina regem sibi eligerent; quod usque hodie apud Pictos constat esse seruatum. [As the Picts had no wives, they asked the Scottis for some, the latter consented to give them women, only on condition that, in all cases of doubt, they should elect their king from the female royal line rather than the male; and it is well known that the custom has been observed among the Picts to this day.]l Many theories have been built around this statement although modern contributors to the debate on Pictish matrilinear succession are essentially divided into two camps: those who favour this ethnographic model include Henderson, Sellar, Miller and Anthony Jackson2 (although they do not agree on one particular type of .matriliny), whereas the champion of the opposing cause is Smyth who argues for a form of patrilinear kingship.3 Neither school of thought has been able to conclusively demonstrate that their particular viewpoint is correct. However, by reviewing the arguments advanced, both for and against, in conjunction with contemporary evidence from the Pictish p~riod, it may be possible to arrive at some sort of consensus regarding the rules of succession to Pictish kingship. 11 NORTHERN STUDIES' 34 The case for supporting 'peculiarities' within Pictish kingship was clearly set out by Wainwright in 1955. -
Überlegungen Zur Interpretation Von Varianten Und Von Sinnleeren Texten
UWE EBEL VORÜBERLEGUNGEN ZU EINER THEORIE DER VARIANTE IN DER LITERATUR DES ISLÄNDISCHEN MITTELALTERS Die Reflexion des Umstands, dass die mittelalterliche Literatur in Varianten überliefert wurde, wird traditionell der Editionsphilologie zugewiesen. Trügt der Eindruck nicht, dass Editionsphilologie tendenziell darauf abzielt, Varianten zu reduzieren, sie im Idealfall aufzuheben, ist ein Wesensmerkmal der Tradie- rung mittelalterlicher Literatur und damit des mittelalterlichen Textbewusst- seins der Theoretisierung nur als Ärgernis und crux zugänglich. Wenn jüngere editorische Bemühungen sich darauf richten, die Texte so aufzuarbeiten, dass das Phänomen der mouvance in die Wiedergabe hineingenommen wird, dann berücksichtigen sie zwar die Varianz als Spezifikum des mittelalterlichen Text- begriffs, sind aber ihrerseits gezwungen, solche Varianz zu reduzieren, die Varianten überschaubar zu halten und damit latent wieder aufzuheben. Das im Edieren sich manifestierende Interesse, die in der Edition sich niederschlagende Form der Traditionspflege ist, weil neuzeitlich, unaufhebbar von der unter- schieden, die das Mittelalter in seiner Weise der Textreproduktion pflegte. Die Editionsphilologie unterscheidet — und ich spreche hier von der vorherrschenden Norm, nicht von Einzelfällen — zwischen wichtigen und weniger wichtigen Varianten und privilegiert letztere, weil sie über sie die Filia- tionen der Handschriften ermitteln und bewusst veränderte Fassungen, ‛Überar- beitungen’, Vortragsversionen usw. identifizieren zu können glaubt. Das unver- kennbare und durchaus irritierende Phänomen der kleineren bis kleinsten Va- rianten wird angesichts dieser Interessenlage kaum einer theoretischen Erarbei- tung zugeführt. Es will aber eigens bedacht und ausgewertet werden, dass die Tradenten etwa schwach markierte Wörter ihrer Vorlagen übergehen oder zufügen, dass sie ihre Vorlage hinsichtlich der Satzstellung mehr oder weniger einschneidend verändern, dass sie Wörter und Wendungen durch synonyme Äquivalenzen ersetzen, und Ähnliches mehr. -
Incantatio an International Journal on Charms, Charmers and Charming Print Version Issue 3 2013
Incantatio An International Journal on Charms, Charmers and Charming http://www.folklore.ee/incantatio Print version Issue 3 2013 ISNFR Committee on Charms, Charmers and Charming Incantatio An International Journal on Charms, Charmers and Charming Issue 3 General Editor: Mare Kõiva Guest Editor for This Issue: Svetlana Tsonkova Tartu 2013 General Editor: Mare Kõiva Guest Editor for This Issue: Svetlana Tsonkova Language editor: Jonathan Roper Layout: Liisa Vesik Editorial board: Alaric Hall Claude Lecouteux Lea Olsan Éva Pócs Jonathan Roper Emanuela Timotin Andrey Toporkov Daiva Vaitkeviien William F. Ryan Editorial contacts: http://www.foklore.ee/incantatio [email protected] Vanemuise 42, Tartu 51003, Estonia Supported by and affiliated to projects SF0030181s08 and EKKM09-159 of the Estonian Ministry of Education and Research, and the European Union through the European Regional Development Fund (Centre of Excellence in CECT). All rights reserved. Copyright 2013 the authors and the ISFNR Committee on Charms, Charmers and Charming ISSN 2228-1355 DOI 10.7592/Incantatio http://www.folklore.ee/incantatio Contents doi: 10.7592/Incantatio2013 Introduction 7 Svetlana Tsonkova doi: 10.7592/Incantatio2013_Introduction Ex Ecclesia: Salvific Power Beyond Sacred Space 9 In Anglo-Saxon Charms Ciaran Arthur doi: 10.7592/Incantatio2013_Arthur Irish Scribal Culture As A Purveyor Of Charm Texts 33 In The Eighteenth And Nineteenth Centuries Nicholas Wolf doi: 10.7592/Incantatio2013_Wolf The Slavic And German Versions Of The Second Merseburg Charm 43 Tatiana Agapkina, Vladimir Karpov, Andrey Toporkov doi: 10.7592/Incantatio2013_AKT Parchment, Praxis And Performance Of Charms 60 In Early Medieval Ireland Ilona Tuomi doi: 10.7592/Incantatio2013_Tuomi Charms In Slovenian Culture 86 Saša Babi doi: 10.7592/Incantatio2013_Babic St. -
Paviken Research Project 2013-2016 Investigation of a Viking Age Trading and Manufacturing Site on Gotland, Sweden
Gotland Archaeological Field-school Paviken research project 2013-2016 Investigation of a Viking Age trading and manufacturing site on Gotland, Sweden Project plan Project Director Associate Professor Dan Carlsson Arendus Färjeleden 5c, 621 58 Visby Sweden. Tel. +46-498219999 www.gotland-fieldschool.com Email: [email protected] Cover picture: The head of a dress pin in the form of a dragons head. Found at Stånga, Gotland. Photo Dan Carlsson Harbours and trading in the Baltic Sea during the Viking Age - an introduction In our interpretation of prehistory we are highly influenced by the material we see in the landscape or by coincidences found during archaeological surveys, and we forget or neglect to take into account the hidden cultural landscape. This is particularly true when it comes to prehistory in Sweden. As we completely lack written sources before the 12th century (with the exception of runic inscriptions) we have to rely on archaeological field material. An example of this problem is the question of Viking Age trade and its associated port activities. Extensive Viking material from Gotland suggests that the island had a lively exchange with the surrounding regions at that time in its history. This is reflected in the existence of numerous silver hoards; no area in northern Europe has such a con- centration of silver from the Viking Age as Gotland. There are clear signs of an extensive and lively Staraya Sigtuna trade and exchange (or piracy, as Ladoga Birka some would argue), which in turn Kaupang required docking points, ports -
ERILAZ a Ritual for Baritone, Violoncello and Percussion
Jeffrey Holmes ERILAZ a ritual for baritone, violoncello and percussion Score 2018 ce-jh1e1-dl-s JEFFREY HOLMES :ERILAZ: eRilay:ayt:alu A Ritual... for Baritone, Violoncello, and Percussion Text from the Lindholm amulet (DR 261, Rundata) ca. 3rd century, Skåne Full Score ii iii PERFORMANCE NOTES General 1. All tempi are approximate, but the relationships between tempi should be proportionally exact. 2. All accidentals apply through the measure and within one octave, and many cautionary accidentals are provided. 3. The following microtonal accidentals are used: B Quarter tone flat µ Quarter tone sharp J 1/6 tone lower than flat j 1/6 tone higher than flat K 1/6 tone lower than natural k 1/6 tone higher than natural L 1/6 tone lower than sharp l 1/6 tone higher than sharp 4. Pitches based on the harmonic series are labeled above the staff by their hypothetical fundamental and partial number. For example, G(7) indicates the seventh partial in the overtone series of G. (The fundamental is partial number 1.) These precise tunings are notationally approximated to the nearest quarter or sixth tone. Performers may either produce the notated quarter or sixth tone or, if accustomed to performing in just intonation, may produce the exact pitches of the indicated partials. Baritone In addition to singing, the baritone is asked to perform on three instruments: an Uruz horn (a primitive cowhorn) tuned to Eb, a lyre (or psaltery), and a drum, preferably a very large skinned tom-tom. Notation is as follows: iv Violoncello 1. The abbreviation s.t. -
9. Freyr's Solar Power and the Purifying Sword
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.