Study Guide for School Days at the New Jersey Renaissance Faire
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1 the Legendary Saga of the Volsungs Cecelia Lefurgy Viking Art and Literature October 4, 2007 Professor Tinkler and Professor E
1 The Legendary Saga of the Volsungs Cecelia Lefurgy Viking Art and Literature October 4, 2007 Professor Tinkler and Professor Erussard Stories that are passed down through oral and written traditions are created by societies to give meaning to, and reinforce the beliefs, rules and habits of a particular culture. For Germanic culture, The Saga of the Volsungs reflected the societal traditions of the people, as well as their attention to mythology. In the Saga, Sigurd of the Volsung 2 bloodline becomes a respected and heroic figure through the trials and adventures of his life. While many of his encounters are fantastic, they are also deeply rooted in the values and belief structures of the Germanic people. Tacitus, a Roman, gives his account of the actions and traditions of early Germanic peoples in Germania. His narration remarks upon the importance of the blood line, the roles of women and also the ways in which Germans viewed death. In Snorri Sturluson’s The Prose Edda, a compilation of Norse mythology, Snorri Sturluson touches on these subjects and includes the perception of fate, as well as the role of shape changing. Each of these themes presented in Germania and The Prose Edda aid in the formation of the legendary saga, The Saga of the Volsungs. Lineage is a meaningful part of the Germanic culture. It provides a sense of identity, as it is believed that qualities and characteristics are passed down through generations. In the Volsung bloodline, each member is capable of, and expected to achieve greatness. As Sigmund, Sigurd’s father, lay wounded on the battlefield, his wife asked if she should attend to his injuries so that he may avenge her father. -
Gunther's Head and Hagen's Heart. Royal Sacrifice In
Corpus Mundi. 2020. No 1 От литературного к кинематографическому дискурсу GUNTHER’S HEAD AND HAGEN’S HEART. ROYAL SACRIFICE IN THE LAY OF NIBELUNGS Asya A. Sarakaeva (a) (a) Hainan State University. Haikou, China. Email: asia-lin[at]mail.ru Abstract Thee article deals with the ficnal part of the German epic Nibelungenlied to learn the real significcance, cultural and ideological context of these episodes. Thee author analyzes literary and anthropological theories, as well as archaeological ficnds to conclude that royal deaths described in the epic refliect the ancient practice of human sacrificce. Keywords the Nibelungenlied; the Elder Edda; interpretative level; human sacrificce; intra- communal violence Theis work is licensed under a Creative Commons «Atteribution» ?.0 International License. 135 Corpus Mundi. 2020. No 1 From Literary to Cinematic Discourse ГОЛОВА ГУНТЕРА И СЕРДЦЕ ХАГЕНА. ЖЕРТВОПРИНОШЕНИЕ В «ПЕСНИ О НИБЕЛУНГАХ» Саракаева Ася Алиевна (a) (a) Хайнаньский университет. Хайкоу, Китай. Email: asia-lin[at]mail.ru Аннотация В статье подробному рассмотрению подвергается финальная часть немецкой эпической поэмы «Песнь о нибелунгах», автор ставит себе задачу выяснить подлинное значение, культурный и идеологический контекст этих эпизодов. На основании анализа литературоведческих и антропологических теорий и археологических находок автор приходит к выводу, что гибель королей, описанная в поэме, отражает древную практику человеческих жертвоприношений. Ключевые слова «Песнь о нибелунгах»; «Старшая Эдда»; уровни интерпретации; человеческое жертвоприношение; внутриобщинное насилие Это произведение доступно по лицензии Creative Commons « Atteribution » («Атрибуция») ?.0 Всемирная 136 Corpus Mundi. 2020. No 1 От литературного к кинематографическому дискурсу Thee German epic Nibelungenlied (Thee Lay of Nibelungs) is a unique work of European medieval literature. It can boast a long and elaborate plot, rich imagery and unprecedented for its time psychological insights into human nature, but that’s not what makes it unique. -
A Comparison of Dede Korkut and Nibelungen Epics
2021-4170-AJHA – 1 APR 2021 1 A Comparison of Dede Korkut and Nibelungen Epics: 2 Family and Child 3 4 This study aimed to describe and compare the family and child themes in the Turkish 5 Dede Korkut Epic and the German Nibelungen Epic. The qualitative study used a 6 screening model and document analysis techniques. Two researchers first reviewed 7 the epics' authenticity and then created themes and sub-themes considering the 8 narratives about the family and the child in the epics. The agreement rate among the 9 three researchers was 83.15%. Three themes were labeled as family characteristics, 10 family relationships, and family and education. It was concluded that there were 11 similarities in both epics about the family and child issues and the differences about 12 heritage. 13 14 Keywords: Epics, Dede Korkut Epic, Nibelungen Epic, Family, Child 15 16 17 Introduction 1918 20 Epics are folk narratives that reflect cultural, social, and political events 21 and extraordinary adventures of heroic characters. Epics might convey both 22 actual historical events and fantastic stories. The epics that have left deep 23 traces in the memory of nations mainly involve long narratives of historical 24 events and heroic themes told orally. This narrative type is essential in 25 introducing and transmitting cultures to future generations (Çobanoğlu, 2000; 26 Ergin, 1981). Although epics’ content is not entirely consistent with the 27 historical facts, they reflect various aspects of a nation such as characteristics, 28 attitudes, behavioral patterns, values, feelings, thoughts, beliefs, morals, 29 customs and traditions, craftsmanship heritage, dressing, and eating and 30 drinking habits, so they are valuable sources of historical, social, technical and 31 educational information (Şimşek, 2007). -
Praise and Censure in the Heroic Poems of the Poetic Edda
Master’s Degree programme in Language Sciences D.M. 270/2004 Final Thesis Praise and Censure in the Heroic Poems of the Poetic Edda Supervisor Ch. Prof. Marina Buzzoni Assistant supervisor Ch. Prof. Massimiliano Bampi Graduand Francesco Bergo Matriculation Number 840838 Academic Year 2016 / 2017 Praise and Censure in the Heroic Poems of the Poetic Edda 2 Contents Praise and Censure in the Heroic Poems of the Poetic Edda ............................................... 1 Introduction .................................................................................................................................. 5 1. The Sources and their Origins ................................................................................................... 9 1.1. The Historical and Cultural Context ................................................................................... 9 1.2. Eddic poetry: Medieval texts from an oral tradition ........................................................ 12 1.3. Transcribed Eddic poetry in the Codex Regius ................................................................. 15 2. A Framework for the analysis of Heroism ............................................................................... 19 2.1. A textual approach for the description of heroes ............................................................ 20 2.2. A synthetic view of characters ......................................................................................... 22 2.3. Differentiation at the reception level ............................................................................. -
From Iron Age Myth to Idealized National Landscape: Human-Nature Relationships and Environmental Racism in Fritz Lang’S Die Nibelungen
FROM IRON AGE MYTH TO IDEALIZED NATIONAL LANDSCAPE: HUMAN-NATURE RELATIONSHIPS AND ENVIRONMENTAL RACISM IN FRITZ LANG’S DIE NIBELUNGEN Susan Power Bratton Whitworth College Abstract From the Iron Age to the modern period, authors have repeatedly restructured the ecomythology of the Siegfried saga. Fritz Lang’s Weimar lm production (released in 1924-1925) of Die Nibelungen presents an ascendant humanist Siegfried, who dom- inates over nature in his dragon slaying. Lang removes the strong family relation- ships typical of earlier versions, and portrays Siegfried as a son of the German landscape rather than of an aristocratic, human lineage. Unlike The Saga of the Volsungs, which casts the dwarf Andvari as a shape-shifting sh, and thereby indis- tinguishable from productive, living nature, both Richard Wagner and Lang create dwarves who live in subterranean or inorganic habitats, and use environmental ideals to convey anti-Semitic images, including negative contrasts between Jewish stereo- types and healthy or organic nature. Lang’s Siegfried is a technocrat, who, rather than receiving a magic sword from mystic sources, begins the lm by fashioning his own. Admired by Adolf Hitler, Die Nibelungen idealizes the material and the organic in a way that allows the modern “hero” to romanticize himself and, with- out the aid of deities, to become superhuman. Introduction As one of the great gures of Weimar German cinema, Fritz Lang directed an astonishing variety of lms, ranging from the thriller, M, to the urban critique, Metropolis. 1 Of all Lang’s silent lms, his two part interpretation of Das Nibelungenlied: Siegfried’s Tod, lmed in 1922, and Kriemhilds Rache, lmed in 1923,2 had the greatest impression on National Socialist leaders, including Adolf Hitler. -
Between Heroic Epic and Courtly Romance Blending Genres In
1 Between Heroic Epic and Courtly Romance Blending Genres in Middle High German and Middle English Literature MA Thesis Literary Studies, English Track Student name: Kjeld Heuker of Hoek Student number: s2093588 Date: 01-06-2018 First reader: Dr. M.H. Porck Second reader: J.M. Müller Ph.D. 2 TABLE OF CONTENTS 1. Introduction 1 2. Historical and Theoretical background 5 3. Das Nibelungenlied 18 4. Tristan 28 5. Havelok the Dane 39 6. Conclusion 47 7. Works cited 50 1 INTRODUCTION When the eponymous hero of Gottfried von Straßburg’s Tristan rides out to meet his enemy, duke Morgan, he hides his and his men’s weapons and armour. The parley between Morgan and Tristan is cut brutally short when Tristan draws his sword without warning and kills Morgan by piercing his skull. This foul unchivalric blow might make the reader believe that he is reading one of the Middle High German heroic epics that regale their reader with stories of large-scale battles, backstabbing traitors and tragic last stands. Yet Gottfried’s Tristan is not commonly regarded as an epic, but one of the more revolutionary courtly romances of the High Middle Ages. It is a romance that deals primarily with the transcendental power of love. This example shows that lines separating the two major secular literary genres of the High Middle Ages are not very clearly drawn. The dominant secular aristocratic literary genre during the Early Middle Ages was the heroic epic. This genre described the adventures of heroic heroes and followed the values and ethos of the aristocratic audience. -
Mackenzie, Colin Peter (2014) Vernacular Psychologies in Old Norse- Icelandic and Old English
Mackenzie, Colin Peter (2014) Vernacular psychologies in Old Norse- Icelandic and Old English. PhD thesis. http://theses.gla.ac.uk/5290/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] Vernacular Psychologies in Old Norse-Icelandic and Old English Colin Peter Mackenzie MA, MPhil Submitted in fulfilment of the requirement for the Degree of PhD English Language School of Critical Studies College of Arts University of Glasgow June 2014 2 Abstract This thesis examines the vernacular psychology presented in Old Norse-Icelandic texts. It focuses on the concept hugr , generally rendered in English as ‘mind, soul, spirit’, and explores the conceptual relationships between emotion, cognition and the body. It argues that despite broad similarities, Old Norse-Icelandic and Old English vernacular psychology differ more than has previously been acknowledged. Furthermore, it shows that the psychology of Old Norse-Icelandic has less in common with its circumpolar neighbours than proposed by advocates of Old Norse-Icelandic shamanism. The thesis offers a fresh interpretation of Old Norse-Icelandic psychology which does not rely on cross-cultural evidence from other Germanic or circumpolar traditions. -
The Nibelungenlied at the Court of Burgundy, Kriemhild, the Virginal
The Nibelungenlied At the court of Burgundy, Kriemhild, the virginal sister of King Gunther and his brothers Gernot and Giselher, has a dream of a falcon that is killed by two eagles. Her mother interprets this to mean that Kriemhild’s future husband will die a violent death, and Kriemhild consequently resolves to remain unmarried. Siegfried is the crown prince of Xanten. In an introductory narrative, he slays a dragon and bathes in its blood, rendering his skin sword-proof, save one small spot which the dragon’s blood didn’t cover; he also obtains a large treasure, after killing two brothers who had drawn him into the struggle over how to divide the wealth between themselves. Siegfried arrives in Worms with the hopes of wooing Kriemhild. Upon his arrival, Hagen tells Gunther about Siegfried’s youthful exploits that involved winning a treasure and lands from a pair of brothers, Nibelung and Schilbung, whom Siegfried had killed when he was unable to divide the treasure between them and, almost incidentally, the killing of a dragon. After killing the dragon, he had bathed in its blood rendering him invulnerable. Unfortunately for Siegfried a leaf fell onto his back from a linden tree as he was bathing and the tiny patch of skin that it covered did not come into contact with the dragon’s blood, so that Siegfried remains vulnerable in that one spot. In spite of Hagen’s threatening stories about his youth, the Burgundians welcome him, but do not allow him to meet the princess. Disappointed, he nonetheless remains in Worms and helps Gunther defeat the invading Saxons. -
The Nibelungenlied
The Nibelungenlied translated by Margaret Armour In parentheses Publications Medieval German Series Cambridge, Ontario 1999 CONTENTS BOOK I PAGE First AdventureÑConcerning the Nibelungs 4 Second AdventureÑConcerning Siegfried 5 Third AdventureÑHow Siegfried Came to Worms 7 Fourth AdventureÑHow Siegfried Fought with the Saxons 14 Fifth AdventureÑHow Siegfried First Saw Kriemhild 22 Sixth AdventureÑHow Gunther Went to Issland to Woo Brunhild 26 Seventh AdventureÑHow Gunther Won Brunhild 31 Eighth AdventureÑHow Siegfried Journeyed to the Nibelungs 37 Ninth AdventureÑHow Siegfried was Sent to Worms 41 Tenth AdventureÑHow Brunhild was Received at Worms 44 Eleventh AdventureÑHow Siegfried Brought his Wife Home 52 Twelfth AdventureÑHow Gunther Invited Siegfried to the Hightide 55 Thirteenth AdventureÑHow They Rode to the Hightide 59 Fourteenth AdventureÑHow the Queens Quarrelled 62 Fifteenth AdventureÑHow Siegfried was Betrayed 66 Sixteenth AdventureÑHow Siegfried was Slain 70 Seventeenth AdventureÑHow Siegfried was Mourned and Buried 76 Eighteenth AdventureÑHow Siegmund Returned Home 81 Nineteenth AdventureÑHow the Nibelung Hoard Came to Worms 83 Book II Twentieth AdventureÑHow King Etzel Sent to Burgundy for Kriemhild 87 Twenty-first AdventureÑHow Kriemhild Journeyed to the Huns 98 Twenty-second AdventureÑHow She was Received among The Huns 102 Twenty-third AdventureÑHow Kriemhild Thought of Revenging her Wrong 105 PAGE Twenty-fourth AdventureÑHow Werbel and Schwemmel Brought the Message 108 Twenty-fifth AdventureÑHow the Kings Journeyed to -
BRUNHILDS CINEMATIC EVOLUTION in GERMAN FILM By
BRUNHILDS CINEMATIC EVOLUTION IN GERMAN FILM by ULLA KASPRZYK HELD (Under the Direction of Christine Haase) ABSTRACT This thesis investigates the portrayal of Brunhild in three major films that retell the Norse and Germanic variations of the legends of Brunhild and Siegfried: Fritz Lang’s Die Nibelungen (1924), Harald Reinl’s Die Nibelungen (1966), and Uli Edel’s Die Nibelungen – Der Fluch des Drachen (2004) (English title Dark Kingdom: The Dragon King, 2006). The emphasis will be on whether Brunhild is portrayed in keeping with the spirit of the Norse tradition, i.e. that of a strong woman with agency, by examining the decade the film was shot in, to include gender relations, the director and production team, the literary and other sources used for the film, and finally the plot of the film itself, coupled with the portrayal of the character by the respective actress. I will argue the portrayal of this epic figure does not correspond to the most successful and emancipated representation of Brunhild in the Norse tradition in Lang’s and Reinl’s films, whereas it does in Edel’s film. An overview of the legend and sagas that have served as sources for these films will be required in order to support my analyses. A connection between the making of these films and the directors’ choice of which literary Brunhild to portray will also be examined. INDEX WORDS: Fritz Lang, Harald Reinl, Uli Edel, German Cinema, Fantasy, Brunhild, Brynhild, Siegfried, Sigurd, Die Nibelungen, Die Nibelungen – Der Fluch des Drachen, The Ring of the Nibelungs, Dark -
Read Book the Legend of Sigurd and Gudrun
THE LEGEND OF SIGURD AND GUDRUN PDF, EPUB, EBOOK J. R. R. Tolkien,Christopher Tolkien | 384 pages | 01 Apr 2010 | HarperCollins Publishers | 9780007317240 | English | London, United Kingdom The Legend of Sigurd and Gudrun PDF Book Tolkien than J. My expectations were very neutral before reading. Hartman has recently suggested that the late Old English poem The Battle of Brunanburh may have used ponderous verse— types in much the same way , It is not so jumpy that it puts off an informed reader. His use of this device is much like in the Fall of Arthur, though in this poem he uses it slightly less frequently, 26 and crossed alliteration is somewhat rarer in general. Neckel, Gustav, ed. Grimhild advises her daughter to mourn no longer, commenting that Brynhild is dead and that Gudrun is still beautiful. Which I don't have, since my education lacked things like the "Nibelungenlied", which is apparently similar. Some of the differences and similarities between Gudrun and Kriemhild in the Scandinavian and continental Germanic traditions can be seen in the following two stanzas taken from original sources. Das Nibelungenlied und die Klage. It should not be forgotten that Tolkien was an Oxford don more than he was a professional writer, and this translation of a long, turgid Norse saga is a scholarly work, that if it didn't have JRRT's name on the cover would probably only be read by a few intellectuals. Some of the biggest books out this fall promise to be epics full of magic, adventure, However, type E was nowhere near so rare for Tolkien as for the Anglo— Saxons, and even if he were not freer with anacrusis more generally, it would not be surprising that he would feel more comfortable using it with this rhythmic pattern. -
The 15Th International Saga Conference Sagas and the Use of the Past 5Th –11Th August 2012, Aarhus University Preprint of Abstracts
The 15th International Saga Conference Sagas and the Use of the Past 5th –11th August 2012, Aarhus University Preprint of Abstracts Edited by A. Mathias Valentin Nordvig and Lisbeth H. Torfing with Pernille Hermann, Jens Peter Schjødt and Ulla Loumand Sponsored by: A.P. Møller og Hustru Chastine Mc-Kinney Møllers Fond til almene Formaal; 15. juni Fonden; Forskningsrådet for Kultur og Kommuni- kation (FKK); Kungl. Gustav Adolfs Akademien för svensk folkkultur; Letterstedtska Föreningen; Faculty of Arts, Aarhus University; The De- partment of Aesthetics and Communication, Aarhus University; The Department of Culture and Society, Aarhus University; Salling; Bryg- geriet Sct. Clemens. MB Published by Department of Aesthetics and Communication Department of Culture and Society Faculty of Arts SUN-Tryk Fællestrykkeriet for Sundhedsvidenskab og Humaniora, Aarhus Universitet All rights reserved. Copyright © 2012, the Contributors. ISBN: 978-87-995444-0-0 http://sagaconference.au.dk/fileadmin/sagaconference/Pre-print.pdf The cover image is the so-called “Aarhus Mask”, a depiction on a ru- nestone found in the district of Hasle in Aarhus. It has been dated to the period 970-1020. Design by Nichlas Tougaard, Det Nye Sort. Preface The theme of the 15th International Saga Conference, the 5th to the 11th of August, 2012, Aarhus University, is Sagas and the Use of the Past. Papers at the conference will be presented in one of the following categories: Memory and Fiction, Myth and Reality, Textuality and Manuscript Transmission, Genre and Concepts of History, Oral Tradi- tion, The Christianisation of Denmark and Eastern Scandinavia, The Use of Sagas and Eddas in the 21st Century and Open Session Apart from the keynote lectures, orally-presented papers are organized in up to 6 parallel sessions on each day of the conference, in addition to which there are poster presentations, which are presented on Thursday afternoon.