Panel 3 Sympathy for a Jötunn
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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. -
Norse Monstrosities in the Monstrous World of J.R.R. Tolkien
Norse Monstrosities in the Monstrous World of J.R.R. Tolkien Robin Veenman BA Thesis Tilburg University 18/06/2019 Supervisor: David Janssens Second reader: Sander Bax Abstract The work of J.R.R. Tolkien appears to resemble various aspects from Norse mythology and the Norse sagas. While many have researched these resemblances, few have done so specifically on the dark side of Tolkien’s work. Since Tolkien himself was fascinated with the dark side of literature and was of the opinion that monsters served an essential role within a story, I argue that both the monsters and Tolkien’s attraction to Norse mythology and sagas are essential phenomena within his work. Table of Contents Abstract Acknowledgements 3 Introduction 4 Chapter one: Tolkien’s Fascination with Norse mythology 7 1.1 Introduction 7 1.2 Humphrey Carpenter: Tolkien’s Biographer 8 1.3 Concrete Examples From Jakobsson and Shippey 9 1.4 St. Clair: an Overview 10 1.5 Kuseela’s Theory on Gandalf 11 1.6 Chapter Overview 12 Chapter two: The monsters Compared: Midgard vs Middle-earth 14 2.1 Introduction 14 2.2 Dragons 15 2.3 Dwarves 19 2.4 Orcs 23 2.5 Wargs 28 2.6 Wights 30 2.7 Trolls 34 2.8 Chapter Conclusion 38 Chapter three: The Meaning of Monsters 41 3.1 Introduction 41 3.2 The Dark Side of Literature 42 3.3 A Horrifically Human Fascination 43 3.4 Demonstrare: the Applicability of Monsters 49 3.5 Chapter Conclusion 53 Chapter four: The 20th Century and the Northern Warrior-Ethos in Middle-earth 55 4.1 Introduction 55 4.2 An Author of His Century 57 4.3 Norse Warrior-Ethos 60 4.4 Chapter Conclusion 63 Discussion 65 Conclusion 68 Bibliography 71 2 Acknowledgements First and foremost I have to thank the person who is evidently at the start of most thesis acknowledgements -for I could not have done this without him-: my supervisor. -
A Saga of Odin, Frigg and Loki Pdf, Epub, Ebook
DARK GROWS THE SUN : A SAGA OF ODIN, FRIGG AND LOKI PDF, EPUB, EBOOK Matt Bishop | 322 pages | 03 May 2020 | Fensalir Publishing, LLC | 9780998678924 | English | none Dark Grows the Sun : A saga of Odin, Frigg and Loki PDF Book He is said to bring inspiration to poets and writers. A number of small images in silver or bronze, dating from the Viking age, have also been found in various parts of Scandinavia. They then mixed, preserved and fermented Kvasirs' blood with honey into a powerful magical mead that inspired poets, shamans and magicians. Royal Academy of Arts, London. Lerwick: Shetland Heritage Publications. She and Bor had three sons who became the Aesir Gods. Thor goes out, finds Hymir's best ox, and rips its head off. Born of nine maidens, all of whom were sisters, He is the handsome gold-toothed guardian of Bifrost, the rainbow bridge leading to Asgard, the home of the Gods, and thus the connection between body and soul. He came round to see her and entered her home without a weapon to show that he came in peace. They find themselves facing a massive castle in an open area. The reemerged fields grow without needing to be sown. Baldur was the most beautiful of the gods, and he was also gentle, fair, and wise. Sjofn is the goddess who inclines the heart to love. Freyja objects. Eventually the Gods became weary of war and began to talk of peace and hostages. There the surviving gods will meet, and the land will be fertile and green, and two humans will repopulate the world. -
Panel 4 the Creation of Midgard from Ymir the Giant
CREATING THE WORLD FROM YMIR By Mackenzie Stewart THE BEGINNING ‘In no way do we accept him as a god. He was evil, as are all his descendants; we call them frost giants. It is said that as he slept he took to sweating. Then, from under his left arm grew a male and female, while one of his legs got a son with the other. From here the clans that are called the frost giants. The old frost giant, him we call Ymir’ - Snorri Sturluson, The Prose Edda, 14-15 ‘where did Ymir live, and what did he live on?’ ‘Next what happened that as the icy rime dripped, the cow called Audhumla was formed. Four rivers of milk ran from her udders, and she nourished Ymir.’ - Snorri Sturluson, The Prose Edda, 15 ‘She licked the blocks of ice, which were salty. As she licked these stones of icy rime the first day, the hair of a man appeared in the blocks towards the evening. On the second day came the man’s head, and on the third day, the whole man. He was called Buri, and he was beautiful, big and strong. He had a son called Bor, who took as his wife the woman called Bestla. She was the daughter of Bolthorn the giant, and they had three sons. One was called Odin, another Vili and the third Ve.’ - Snorri Sturluson, The Prose Edda, 15 Ymir suckles the udder of Auðumbla as she licks Búri out of the ice painting by Nicolai Abildgaard, 1790 THE DEATH ‘The sons of Bor killed the giant Ymir’…’When he fell, so much blood gushed from his wounds that with it they drowned all the race of the frost giants except for one who escaped with his household. -
Arkeologisk Tidsskrift Primitive Tider Utgis Av Marie Ødegaard (Redaktør), Hege Skalleberg Gjerde, Gaute Reitan, Marte Spangen, Vibeke M
21 arkeologisk tidsskrift Primitive tider utgis av Marie Ødegaard (redaktør), Hege Skalleberg Gjerde, Gaute Reitan, Marte Spangen, Vibeke M. Viestad og Mari Arentz Østmo Sektretær: Andreas Ropeid Sæbø ISSN 1501-0430 Postadresse: Primitive tider Postboks 6727, St. Olavs plass 0130 Oslo E-post: [email protected] / [email protected] Internett: https://journals.uio.no/PT/index Ombrekk: Hege S. Gjerde Trykk: Reprosentralen ved Universitetet i Oslo ©Primitive tider. Ettertrykk for mangfoldiggjøring kun etter avtale med redaksjonen. Forsideillustrasjon: Handelsrelaterte gjenstander fra Vikingtid. Foto: Åge Hojem, NTNU Vitenskapsmuseet. Fra artikkelen Metallsøkerfunn som grunnlag for kunnskap og vern. En case-studie fra Sunndal – et knutepunkt i jernalder og middelalder av Dahle et al. s.81-99. Skrive for Primitive tider? Primitive tider oppfordrer spesielt uetablerte forfattere til å skrive. Vi er interessert i artikler, kommentarer til tidligere artikler og rapporter (enklere, ikke fagfellevurderte tekster). Kanskje blir din artikkel neste nummers debattema! Send inn ditt manuskript og la det få en faglig og seriøs vurdering av redaksjonen. Husk at hele prosessen kan være tidkrevende, så planegg i god tid. Innleveringsfrister finner du på våre nettsider. Det er likevel ingen grunn til å vente til siste øyeblikk, send gjerne inn før fristen! For å lette arbeidet for deg og for oss, er det helt nødvendig at du setter deg godt inn i forfatterveiledningen og følger den. Forfatterveiledningen finner du på våre nettsider: https://journals.uio.no/PT/index Artikkelutkastet bør lengdemessig omtrent tilsvare den ferdige artikkelen. Det må med andre ord være noe mer enn en skisse/ løse ideer, men også vesentlig kortere enn en avhandling. -
Campaign Setting
TM Campaign Setting Lead Designer Wolfgang Baur Chapter Design Cover Art Jeff Grubb, Brandon Hodge, Christina Stiles, and Dan Voyce Aaron Miller Additional Design Interior Art Ben Armitage, Michael Franke, Ed Greenwood,Josh Jarman, Darren Calvert, Nicole Cardiff, Richard Clark, Storn Cook, Michael Kortes, Chris Lozaga, Michael Matkin, Ben McFarland, Emile Denis, Rick Hershey, Michael Jaecks, Stephanie Law, Chad Middleton, Carlos Ovalle, Adam Roy, and Henry Wong Pat Loboyko, Malcolm McClinton, Aaron Miller, Marc Radle, Game Material Development Blanca Martinez de Rituerto, Mark Smylie, Hugo Solis, Sigfried Trent Christophe Swal, Stephen Wood, and Kieran Yanner AGE Appendix Cartography and Heraldry Josh Jarman, with additional design by Simon English, Jonathan Roberts, Sean Macdonald, Lucas Haley Emmet Byrne, Daniel Perez, Jesse Butler, and Wolfgang Baur Cover Graphic Design Editor Callie Winters Michele Carter Layout Proofreading Callie Winters Chris Harris, Ed Possing, and Joey Smith Indexer Lori Ann Curley Dedication: This book is dedicated to my parents, Werner and Renate Baur, who many years ago gave me a little blue box with a dragon on the cover. Thank you for always supporting my love of fantasy, gaming, and legends. Setting Champions Champion of Midgard: Steve Geddes Despot of the Ruby Sea: Carlos Ovalle Exarch of the Magocracy: Christopher Lozaga Druid of the Emerald Order: Shawn “Bran Ravensong” Nolan God-King of Nuria-Natal: Henry Wong Lord of Thunder Mountain: DJ Yoho Lord of Midgard: Sebastian Dietz River King of the Arbonesse: Chad Middleton Sultana of the Empire: Christina Stiles Midgard Campaign Setting is © 2012 Open Design LLC. All rights reserved. Midgard, Open Design, Kobold Press, Free City of Zobeck, and their associated logos are trademarks of Open Design LLC. -
Norse Mythology
N O R S E M Y T H O L O G Y N E I L G A I M A N W. W. NORTON & COMPANY Independent Publishers Since 1923 New York • London FOR EVERETT, OLD STORIES FOR A NEW BOY. C O N T E N T S An Introduction THE PLAYERS BEFORE THE BEGINNING, AND AFTER YGGDRASIL AND THE NINE WORLDS MIMIR’S HEAD AND ODIN’S EYE THE TREASURES OF THE GODS THE MASTER BUILDER THE CHILDREN OF LOKI FREYA’S UNUSUAL WEDDING THE MEAD OF POETS THOR’S JOURNEY TO THE LAND OF THE GIANTS THE APPLES OF IMMORTALITY THE STORY OF GERD AND FREY HYMIR AND THOR’S FISHING EXPEDITION THE DEATH OF BALDER THE LAST DAYS OF LOKI RAGNAROK: THE FINAL DESTINY OF THE GODS A Glossary A N I N T R O D U C T I O N It’s as hard to have a favorite sequence of myths as it is to have a favorite style of cooking (some nights you might want Thai food, some nights sushi, other nights you crave the plain home cooking you grew up on). But if I had to declare a favorite, it would probably be for the Norse myths. My first encounter with Asgard and its inhabitants was as a small boy, no more than seven, reading the adventures of the Mighty Thor as depicted by American comics artist Jack Kirby, in stories plotted by Kirby and Stan Lee and dialogued by Stan Lee’s brother, Larry Lieber. Kirby’s Thor was powerful and good-looking, his Asgard a towering science fictional city of imposing buildings and dangerous edifices, his Odin wise and noble, his Loki a sardonic horn-helmeted creature of pure mischief. -
Yggdrasil: Asgard Rulebook
All the base rules for Yggdrasil still apply when playing with this expansion except for the transe and Hel’s effect. In renouncing my divinity, My brothers’ power grew mightily. For, by the magic of the Sejdr, Trance These worlds and I are now bound. In a selfless act of sacrifice, a God can enter a trance to increase all of the other Gods’ power. This expansion adds a new action in addition to the original nine. For one action, the active God can enter or leave a trance. Simply turn the God sheet over to the other side (normal or trance). The active God cannot enter and leave a trance during the same turn. Trance As long as a God is in a trance, • he and all the Gods get a new power: the Trance Power of the God under the trance. The Trance Power can be used by any of the Gods, including the one under the trance. However • This God under a trance loses his Personal Power and • the God under a trance cannot perform an action in Asgard, i.e., the God under a trance cannot attack one of the six enemies. Personal Power Trance Power el The Viking counters that Hel removes from the H bags are not placed on the World of the Dead any more, but are permanently discarded. The Gods cannot use them again during the game. At the beginning of his turn, Odin draws 2 When they play on the Ice Fortress and Enemy cards instead of one, chooses which defeat a Giant, the Gods discard the Giant one he wants to play and puts the other one of their choice, one who is active or one odin back on or under the deck. -
Year 7: Myths and Legends Home Pack
Year 7: Myths and Legends home pack Name: Form: Teacher: School week 7 W.C. 02.11.2020 Lesson 1: This week, you are going to look at the introduction of the human hero. Previously to this, our focus has been on characters who are Gods or part of the supernatural in some way. What is a hero? How many examples can you give of a hero? • • • • • • Below are Propp’s character conventions. These are characters you can expect to see in a traditional adventure story and what their role is. How do you think the heroic figure has changed over time? Think about what the Greek expectations were, then Roman and what we are familiar with today. Greek Roman Modern In the past, we have looked at heroes as masculine figures. Do you think this is still relevant today? Do we expect heroes to be masculine? Explain your thinking. Why is it important to have a human hero? How does it impact the story and the reader’s relationship with it? Lesson 2: What are the purpose of the following characters, according to Propp’s conventions. Do this from memory first and then you can look back to complete any that are missing. Hero – Villain – Doner – Helper – Princess – Dispatcher – Princess’ father – False hero - Read ‘The Sword in the Stone’. Does it fit any of the seven basic plots? Which one and why? How is Arthur presented as a heroic character? Use the questions below to help you: What is Arthur like? Arthur is presented as a heroic character as he is… How does the text show us this? This is shown when… The Sword in the Stone Our story begins in the fifth century with King Uther who reigned in the south of Britain. -
Odinism Human Entities Reside
A sample entry from the Encyclopedia of Religion and Nature (London & New York: Continuum, 2005) Edited by Bron Taylor © 2005 All Rights Reserved O Odinism human entities reside. The gods travel freely between these worlds and thus can and do interact with humans. Gods Odinism refers to the modern reconstruction and revival and humans are also subject to their position within both of pre-Christian Germanic heathenism centered on the a personal and a collective Wyrd (from Old Norse urr), or pantheon of ancient northern deities in which the god “fate”; this does not predetermine every lesser action, but Odin (variously called Óinn, Woden, Wodan, etc., in the rather exerts influence upon the overall course of life. different older Germanic languages) is a principal figure. Although it is believed that the distinctive essence or soul Odinism is only one of a number of generic designations of a human being will depart for another realm after death that might be used by practitioners to describe their (various specific possibilities are described in the mytho- beliefs; the term Ásatrú (“loyalty to the gods,” a modern logical literature), the primary emphasis of the religion coinage derived from Old Norse) is in equally widespread is not other-worldly; instead it focuses upon right conduct use today. Odinism may in some instances refer to a less in the here-and-now. Virtues such as honor, courage, ritual-oriented and more philosophical variant of Germanic and hospitality are highly valued, and an awareness of heathenism than Ásatrú, or one that places a marked humankind’s place in the natural world is also cultivated. -
Drakir Dragonborn Dwarves Turned Dragon Dwarves Crafter Hill Scholar Duergar Warrior Mountain Elves Dark Drow Light High Wild Wo
Drakir Dragonborn Dwarves turned Dragon Dwarves Crafter Hill Scholar Duergar Warrior Mountain Elves Dark Drow Light High Wild Wood Goblins Gnomes Fey creatures Forest --- Rock --- Humans Nordir North Scovans East (Woods) Reikling (South) Yokanir Far North Jotunkin Goliath Jotun-Human hybrids Trolls Firbolgs Vaetir Half-Elf Demi-gods Drakir Names In ancient days, a Dwarf-King took possession Drakir still retain Dwarven given names, though of a great horde, a cursed horde. He their surnames have shifted to reflect their new transformed himself into a Dragon in order to nature, usually referencing their draconic better guard his wealth, and extended this curse appearance. to all his kin and housecarls. These poor souls became Drakir, half dragons. When the king fell, Stats his cursed descendants scattered to the corners Drakir use a modified form of the Dragonborn of the world. statblock found in the D&D5E PHB. Physical Drakir Drakir are humanoids with distinctly draconic ASI Increase your Strength by +2, physical traits, including horns, scales, all of it. and your Charisma by +1. They are broad and tall, standing around six Age Drakir mature by 12 and can feet, and their scales are brightly colored in live up to 400 years. many hues. Size Medium Speed 30 ft Personality Language Common, Draconic, Dwarven Most Drakir are descended from the Warrior Darkvision You can see normally in dim clans of the Dwarves, and they retain much of lighting up to 60ft, and that cultural outlook. Drakir are aggressive and through darkness as though domineering, but match this with a level of dim. -
Progression and Return in Västanå Theatre’S Retelling of the Edda (2019)
Progression and Return in Västanå Theatre’s Retelling of the Edda (2019) Anna Swärdh, Stockholm University, Sweden Abstract In 2019, Västanå Theatre staged Jon Fosse’s Edda, a theatrical adaptation of myths from the Poetic Edda. This essay focuses on a number of formal devices used to adapt the Norse myths at Västanå, the dumb show convention perhaps offering the most stylized form of expression of these. The essay shows how the production helped the audience negotiate between a linear and a circular understanding of time, through formal and structural means: staging, selection and ordering of episodes signalled a strong initial focus on the inevitability of Ragnarök, while circularity and return were highlighted through the ending in which the world was reborn, but also through other features that stressed repetition and retelling. The essay argues that the dumb show convention could be taken as emblematic of the production’s negotiation between the two timelines, but it also shows how the device helped adapt female characters into more powerful agents, how it added hope in the form of young love, and how it functioned to draw attention to narration, words, and poetry. Keywords: Jon Fosse; Edda; Poetic Edda; Västanå Theatre (Västanå Teater); adaptation; dumb show It has been suggested that the dumb show—‘a passage of silently mimed action’ (Dobson 2013: 398)—is ‘no longer a meaningful theatrical convention’ (Lopez 2017: 305), but Västanå Theatre’s (Västanå Teater) 2019 production of the Edda showed that it is a device that can still be