Grendel's Cave Guide
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Beowulf and Grendel (2005)
Masarykova univerzita Filozofická fakulta Katedra anglistiky a amerikanistiky Bakalářská diplomová práce 2020 Nikola Krčová Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Nikola Krčová The Depiction of Beowulf in Film and Television Series Adaptations Bachelor’s Diploma Thesis Supervisor: prof. Mgr., Milada Franková, CSc., M.A. 2020 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature I would like to thank my family for supporting me and sharing their opinions with me. I would also like to thank my supervisor prof. Mgr. Milada Franková, CSc., M.A., for her guidance. Table of Contents Introduction........................................................................................................................... 1 The Original Story of Beowulf............................................................................................. 4 Beowulf and Grendel (2005)............................................................................................... 13 Beowulf (2007).................................................................................................................... 19 Beowulf: Return to the Shieldlands (2016)......................................................................... 25 Conclusion........................................................................................................................... 31 Bibliography....................................................................................................................... -
Ragnarocks You Take on the Role of a Viking Clan Using Runestones to Mark Your Clan’S Claims of Land
1 1 IN NORSE MYTHOLOGY, HUMANS EXIST IN THE LAND OF MIDGARD - A PLACE IN THE CENTER OF THE WORLD TREE AND CONNECTED TO THE NINE REALMS. AMONG THESE NINE REALMS LIVE GODS AND GODDESSES, SERPENTS AND SPIRITS, AND ALL MANNER OF MYTHICAL AND MYSTICAL CREATURES. In Ragnarocks you take on the role of a Viking clan using Runestones to mark your clan’s claims of land. In the advanced game, your clan worships one of these powerful beings from another realm who lends you their power to help you outwit rivals and claim territories for your clan. At the end of the game, the clan who controls the most territory in Midgard wins! Contents Heimdallr Odin Guardian of Asgard Sól Ruler of the Aesir Goddess of the Sun Art Coming Soon Art Coming Soon Art Coming Soon SETUP: Draw two additional Mythology Powers with [Odin icon] andCommand hold them. cards. These are your START OF YOUR TURN: AT THE END OF YOUR TURN: You may relocate one of your vikings Settled You may either play a Command card this turn to any unoccupied space that was from your hand, or pick up all your played BEFORE YOUR MOVE: not Settled at the beginning of this turn. You may Move one space with Command cards. If you play a Command your Selected Viking card, you gain(ignore that setuppower powers). until your next turn 32 Mythology Cards 40 Runestones 6 Viking Pawns 1 Tree Stand 1 Game Insert Board 2 3 basic game setup 1 Remove game pieces from the insert and set them where all players can reach them. -
Herjans Dísir: Valkyrjur, Supernatural Femininities, and Elite Warrior Culture in the Late Pre-Christian Iron Age
Herjans dísir: Valkyrjur, Supernatural Femininities, and Elite Warrior Culture in the Late Pre-Christian Iron Age Luke John Murphy Lokaverkefni til MA–gráðu í Norrænni trú Félagsvísindasvið Herjans dísir: Valkyrjur, Supernatural Femininities, and Elite Warrior Culture in the Late Pre-Christian Iron Age Luke John Murphy Lokaverkefni til MA–gráðu í Norrænni trú Leiðbeinandi: Terry Gunnell Félags- og mannvísindadeild Félagsvísindasvið Háskóla Íslands 2013 Ritgerð þessi er lokaverkefni til MA–gráðu í Norrænni Trú og er óheimilt að afrita ritgerðina á nokkurn hátt nema með leyfi rétthafa. © Luke John Murphy, 2013 Reykjavík, Ísland 2013 Luke John Murphy MA in Old Nordic Religions: Thesis Kennitala: 090187-2019 Spring 2013 ABSTRACT Herjans dísir: Valkyrjur, Supernatural Feminities, and Elite Warrior Culture in the Late Pre-Christian Iron Age This thesis is a study of the valkyrjur (‘valkyries’) during the late Iron Age, specifically of the various uses to which the myths of these beings were put by the hall-based warrior elite of the society which created and propagated these religious phenomena. It seeks to establish the relationship of the various valkyrja reflexes of the culture under study with other supernatural females (particularly the dísir) through the close and careful examination of primary source material, thereby proposing a new model of base supernatural femininity for the late Iron Age. The study then goes on to examine how the valkyrjur themselves deviate from this ground state, interrogating various aspects and features associated with them in skaldic, Eddic, prose and iconographic source material as seen through the lens of the hall-based warrior elite, before presenting a new understanding of valkyrja phenomena in this social context: that valkyrjur were used as instruments to propagate the pre-existing social structures of the culture that created and maintained them throughout the late Iron Age. -
Beowulf Timeline
Beowulf Timeline Retell the key events in Beowulf in chronological order. Background The epic poem, Beowulf, is over 3000 lines long! The main events include the building of Heorot, Beowulf’s battle with the monster, Grendel, and his time as King of Geatland. Instructions 1. Cut out the events. 2. Put them in the correct order to retell the story. 3. Draw a picture to illustrate each event on your story timeline. Beowulf returned Hrothgar built Beowulf fought Grendel attacked home to Heorot. Grendel’s mother. Heorot. Geatland. Beowulf was Beowulf’s Beowulf fought Beowulf travelled crowned King of funeral. Grendel. to Denmark the Geats. Beowulf fought Heorot lay silent. the dragon. 1. Stick Text Here 3. Stick Text Here 5. Stick Text Here 7. Stick Text Here 9. Stick Text Here 2. Stick Text Here 4. Stick Text Here 6. Stick Text Here 8. Stick Text Here 10. Stick Text Here Beowulf Timeline Retell the key events in Beowulf in chronological order. Background The epic poem, Beowulf, is over 3000 lines long! The main events include the building of Heorot, Beowulf’s battle with the monster, Grendel, and his time as King of Geatland. Instructions 1. Cut out the events. 2. Put them in the correct order to retell the story. 3. Write an extra sentence or two about each event. 4. Draw a picture to illustrate each event on your story timeline. Beowulf returned Hrothgar built Beowulf fought Grendel attacked home to Geatland. Heorot. Grendel’s mother. Heorot. Beowulf was Beowulf’s funeral. Beowulf fought Beowulf travelled crowned King of Grendel. -
Harem Literature and the Question of Representational Authenticity
Contemporary Literary Review India CLRI Brings articulate writings for articulate readers. eISSN 2394-6075 | Vol 5, No 4, CLRI November 2018 | p. 33-46 Confronting Robert Zemeckis’ Beowulf in the Digital Age Arnab Chatterjee Faculty Member, Department of English, Sister Nivedita University, Kolkata. Abstract It is a fundamental fact that an epic documents the exploits of certain characters on a scale that sometimes crosses the limits of both space and time; in fact, these features account for the “grand style” of any epic composed. Coupled with its bravura sweep, any epic is also a faithful documentation of the age in which it is written, something that Prof. E.M.W. Tillyard calls its “choric” quality. However, in the digital age, with the advent of animation and other such modes of representation, much of the erstwhile grandeur of the traditional epics seems to have been lost, and this brings us closer to Walter Benjamin’s remark that in the mechanical age, a work of art loses is pseudo-divine aura as we tend to have “copies” of the work that is readily Contemporary Literary Review India | eISSN 2394-6075 | Vol 5, No 4, CLRI November 2018 | Page 33 Confronting Robert Zemeckis’ Beowulf in the Digital Age Arnab Chatterjee consumed. Taking clues from such theorists, this proposed paper is an attempt to locate Beowulf in the digital age and within the ‘mechanics’ of representation called “animation pictures” and alternative narratological strategies that tend to compromise not only with its original tone, but also with the story line. Keywords Animation, Grand style, Digital, Walter Benjamin, Narratological. -
Cunningham Tarpaulin Sky in Utero
! TWO: THE ICE LAND ICE ARENA cold eyes blue eyes cold eyes dead eyes red eyes dead eyes what breaks the eyes skates up and down the eyes up, the eyes down the eyes, cold eyes bite cold eyes blue eyes cold eyes on thin eyes, you’re on thin eyes skating, wound on eyes, skating red eyes A-20 Aircraft— Wagner’s Valkyries knows, dives a soldier’s nerves Chassis— grief stains, skeleton of screaming metal priceless lie-down Engine— auto-translation power supply with mess, with Wooden Box— ice jamming coffin-lidded gorged on 8s Runestone— hell-raised audience guide all, different voices A-20 Aircraft— hell-raised coffin-lidded priceless lie-down Chassis— audience guide a soldier’s nerves ice jamming Engine— grief stains, skeleton with mess, with auto-translation Wooden Box— of screaming metal knows, dives all, different voices Runestone— gorged on 8s Wagner’s Valkyries power supply A-20 Aircraft— grief stains, skeleton gorged on 8s audience guide Chassis— a soldier’s nerves of screaming metal with mess, with Engine— Wagner’s Valkyries knows, dives power supply Wooden Box— all, different voices ice jamming coffin-lidded Runestone— auto-translation priceless lie-down hell-raised A-20 Aircraft— coffin-lidded priceless lie-down hell-raised Chassis— of screaming metal with mess, with grief stains, skeleton Engine— power supply knows, dives ice jamming Wooden Box— gorged on 8s a soldier’s nerves all, different voices Runestone— Wagner’s Valkyries auto-translation audience guide A-20 Aircraft— of screaming metal audience guide with mess, with Chassis— -
13 Reflections on Tolkien's Use of Beowulf
13 Reflections on Tolkien’s Use of Beowulf Arne Zettersten University of Copenhagen Beowulf, the famous Anglo-Saxon heroic poem, and The Lord of the Rings by J.R.R. Tolkien, “The Author of the Century”, 1 have been thor- oughly analysed and compared by a variety of scholars.2 It seems most appropriate to discuss similar aspects of The Lord of the Rings in a Festschrift presented to Nils-Lennart Johannesson with a view to his own commentaries on the language of Tolkien’s fiction. The immediate pur- pose of this article is not to present a problem-solving essay but instead to explain how close I was to Tolkien’s own research and his activities in Oxford during the last thirteen years of his life. As the article unfolds, we realise more and more that Beowulf meant a great deal to Tolkien, cul- minating in Christopher Tolkien’s unexpected edition of the translation of Beowulf, completed by J.R.R. Tolkien as early as 1926. Beowulf has always been respected in its position as the oldest Germanic heroic poem.3 I myself accept the conclusion that the poem came into existence around 720–730 A.D. in spite of the fact that there is still considerable debate over the dating. The only preserved copy (British Library MS. Cotton Vitellius A.15) was most probably com- pleted at the beginning of the eleventh century. 1 See Shippey, J.R.R. Tolkien: Author of the Century, 2000. 2 See Shippey, T.A., The Road to Middle-earth, 1982, Pearce, Joseph, Tolkien. -
Beowulf: God, Men, and Monster
Journal of Undergraduate Research at Minnesota State University, Mankato Volume 10 Article 1 2010 Beowulf: God, Men, and Monster Emily Bartz Minnesota State University, Mankato Follow this and additional works at: https://cornerstone.lib.mnsu.edu/jur Part of the Literature in English, British Isles Commons Recommended Citation Bartz, Emily (2010) "Beowulf: God, Men, and Monster," Journal of Undergraduate Research at Minnesota State University, Mankato: Vol. 10 , Article 1. Available at: https://cornerstone.lib.mnsu.edu/jur/vol10/iss1/1 This Article is brought to you for free and open access by the Undergraduate Research Center at Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Journal of Undergraduate Research at Minnesota State University, Mankato by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Bartz: Beowulf: God, Men, and Monster Emily Bartz Beowulf: God, Men, and Monsters The central conflict of the Anglo-Saxon epic poem Beowulf is the struggle between the decentralising and supernatural ways of the ancients (Shield Sheafson, Grendel, and Grendel‟s Mother) and the centralising and corporeal values of the modern heroes (Hrothgar, Beowulf, and Wiglaf.) The poet traces a definitive move away from the ancient‟s pagan heroic values to his own Christian heroic values. However, as in the poet‟s contemporary culture, certain pagan traditions, such as familial fidelity, persist in Beowulf due to their compatibility with Christian culture. The poet‟s audience, the Anglo-Saxons, honoured their pagan ancestors through story telling. The Christian leadership discouraged story telling since the Anglo-Saxons‟ ancestors were pagans and thus beyond salvation. -
Beowulf to Ancient Greece: It Is T^E First Great Work of a Nationai Literature
\eowulf is to England what Hcmer's ///ac/ and Odyssey are Beowulf to ancient Greece: it is t^e first great work of a nationai literature. Becwulf is the mythical and literary record of a formative stage of English civilization; it is also an epic of the heroic sources of English cuitu-e. As such, it uses a host of tra- ditional motifs associated with heroic literature all over the world. Liks most early heroic literature. Beowulf is oral art. it was hanaes down, with changes, and embe'lishrnents. from one min- strel to another. The stories of Beowulf, like those of all oral epics, are traditional ones, familiar to tne audiences who crowded around the harp:st-bards in the communal halls at night. The tales in the Beowulf epic are the stories of dream and legend, of monsters and of god-fashioned weapons, of descents to the underworld and of fights with dragons, of the hero's quest and of a community threat- ened by the powers of evil. Beowulf was composed in Old English, probably in Northumbria in northeast England, sometime between the years 700 and 750. The world it depicts, however, is much older, that of the early sixth century. Much of the material of the poem is based on early folk legends—some Celtic, some Scandinavian. Since the scenery de- scribes tne coast of Northumbna. not of Scandinavia, it has been A Celtic caldron. MKer-plateci assumed that the poet who wrote the version that has come down i Nl ccnlun, B.C.). to us was Northumbrian. -
Beowulf's Arrival
2/16/2018 Beowulf's Arrival padlet.com/jenny_ryan/beowulf Beowulf's Arrival How is Beowulf set up as the epic hero? JENNY RYAN FEB 15, 2018 09:30AM Encounter #1 - arrival on the Encounter #2 - encounter with coast (lines 229-319) - How is Wulfgar the Herald (lines 332- Beowulf characterized by his 398) - 1. How is the herald able exchange with the guard? Offer to tell that the Geats are not details and discussion of 1.) the invaders? 2. What are some of guard's description and 2.) the key points of Beowulf's Beowulf's own words. introduction? 3. What do we learn about Beowulf based on Party Table Hrothgar's response? The guard rst describes Beowulf and his warriors on line 247. He claims the warriors are the boldest he had ever seen, 1) The herald saw that Beowulf and his men were honorable having never before seen armed men disembark their ship so and put together. (Lines 342-347). quickly. He also is immediately aware of the noble aura Beowulf gives off, claiming only by a glance he is truly noble. 2) Beowulf announces his name, and respectfully asks for a Beowulf, the epic hero, is described as so mighty that he is meeting with their “lord and master, the most renowned son easily recognizable as a great warrior, even distinguished from of Halfdane”. the rest of his warriors by the guard as true nobility. The guard also trusts Beowulf after he explains his business there, 3. Beowulf is there to “follow up an old friendship” and to believing him to be an honorable person who is true in his defend the people from Grendel. -
Myths of the Rune Stone: Viking Martyrs and the Birthplace of America
book review Myths of the Rune Stone: Viking Martyrs For example, Krueger’s and the Birthplace of America take on the local and reli- David M. Krueger gious dimensions of the (Minneapolis: University of Minnesota Press, 2015, 214 p., stone’s history is original. Paper, $24.95.) He excellently explores how the stone became a near- Many places claim to be the birthplace of America, but few sacred artifact even outside have been as contested as the one near Kensington, Minnesota. the Scandinavian American The source of this claim, a stone slab unearthed in 1898, is the ethnic community. Krueger subject of David Krueger’s Myths of the Rune Stone. This first shows how in the 1920s the comprehensive book about the popular meaning of the Kens- stone— by way of a failed ington Rune Stone is a welcome contribution to the study of its plan for a massive 200- foot historiography and to the impact of local culture on an Ameri- monument— became a can origin myth. tool of small- town booster- Since its discovery by a Swedish- born farmer, the Kensing- ism. In 1928, the stone was ton Rune Stone’s claim that Norsemen were present in what purchased by a group of is now Minnesota in the year 1362 has been a topic of heated Alexandria businessmen controversy. Although scholars of Scandinavian languages and and put on display in a downtown bank. To the Alexandria runology (the study of runic inscriptions) have long agreed community, the stone was a source of prestige and a strategy about its nineteenth- century origin, the stone has continued to to promote tourism. -
Beowulf Was Not There”: Compositional Implications of Beowulf, Lines 1299B-1301
Oral Tradition, 4/3 (1989): 316-329 “Beowulf Was Not There”: Compositional Implications of Beowulf, Lines 1299b-1301 Michael D. Cherniss During the second night of Beowulf’s stay in Denmark, Grendel’s mother, seeking revenge for her son’s death, enters Heorot. When the warriors in the hall discover her presence, she takes fl ight, but on her way out she seizes and kills an unnamed warrior who, the poet says, was especially dear to his lord, Hrothgar. At this point in the narrative the poet tells us something we did not previously know (1299b-1301): Næs Beowulf ðær, ac wæs oþer in ær geteohhod æfter maþðumgife mærum Geate.1 [Beowulf was not there, but rather he was in another place, assigned earlier to the famous Geat after the giving of treasure.] Subsequently, the female monster completes her escape, leaving confusion and renewed suffering behind her. Although so far as I am aware the lines about Beowulf’s absence from Heorot during the second attack in two nights upon its sleeping inhabitants have elicited no previous commentary, they have for some time struck me as being somewhat curious. My discomfort has little or nothing to do with the narrative function of the information that the poet supplies here. Obviously, if Beowulf were present in Heorot the poem’s audience would expect him to challenge Grendel’s less powerful mother just as he had previously challenged her son and, if the results were the same, instead of an exciting battle in the monster’s lair, we would very likely have only a much less interesting reduplication of the earlier hand-to-hand struggle.