A Basic Guide to the Younger Futhark First Edition
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Modern Rune Carving in Northern Scotland. Futhark 8
Modern Rune Carving in Northern Scotland Andrea Freund and Ragnhild Ljosland (University of the Highlands and Islands) Abstract This article discusses modern runic inscriptions from Orkney and Caithness. It presents various examples, some of which were previously considered “genuine”, and reveals that OR 13 Skara Brae is of modern provenance. Other examples from the region can be found both on boulders or in bedrock and in particular on ancient monuments ranging in date from the Neolithic to the Iron Age. The terminology applied to modern rune carving, in particular the term “forgery”, is examined, and the phenomenon is considered in relation to the Ken sington runestone. Comparisons with modern rune carving in Sweden are made and suggestions are presented as to why there is such an abundance of recently carved inscriptions in Northern Scotland. Keywords: Scotland, Orkney, Caithness, modern runic inscriptions, modern rune carving, OR 13 Skara Brae, Kensington runestone Introduction his article concerns runic inscriptions from Orkney and Caithness Tthat were, either demonstrably or arguably, made in the modern period. The objective is twofold: firstly, the authors aim to present an inventory of modern inscriptions currently known to exist in Orkney and Caith ness. Secondly, they intend to discuss the concept of runic “forgery”. The question is when terms such as “fake” or “forgery” are helpful in de scribing a modern runic inscription, and when they are not. Included in the inventory are only those inscriptions which may, at least to an untrained eye, be mistaken for premodern. Runes occurring for example on jewellery, souvenirs, articles of clothing, in logos and the Freund, Andrea, and Ragnhild Ljosland. -
Language and Runes
Language andRunes Extracts of Swarkestone runic verse These dialects were spoken across what are from The now Denmark, Norway, and Sweden, and were in Ransome of Egill the Scald taken to Iceland when the Vikings settled there. Derbyshire and The Dying Ode of Regner Modern Icelandic is the closest surviving form combines Lodbrog on the title page of this medieval tongue; many Icelanders today the Old of their first English can still easily enjoy the medieval Icelandic Norse translation. Thomas sagas of the 12th-14th centuries in their original personal Percy, Five written form. name Pieces of Runic Poetry Swerkir with the Old English Translated from Anglo-Saxons spoke Old English, the ancestor Pp 1-2 from Magnús Ólafsson’s the Islandic element -tun (meaning ‘farm’ Old Icelandic dictionary with runic Language to our modern language. Old English was headwords and Latin definitions. (London or ‘homestead’), suggesting Magnús Ólafsson, Specimen lexici 1763). another Germanic language, with close kinship runici, obscuriorum qvarundam vocum, Eiríkur perhaps that a Viking took qvae in priscis occurrunt historiis & Benedikz to Old Norse, so it is plausible that Old poëtis danicis (Copenhagen 1650) Icelandic over an Anglo-Saxon farm. Special Collection Oversize PD2093.W6 Collection English and Old Norse speakers could, to a PT7245.E5 certain extent, understand one another. Early The Scandinavians also brought their system medieval Scandinavians had a notable effect on of writing with them: runes. The runic the development of modern English: words alphabet the Viking settlers employed is such as skirt, sky, window, and egg are all derived known as the Younger Futhark and consists from Old Norse. -
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. -
Ancient and Other Scripts
The Unicode® Standard Version 13.0 – Core Specification To learn about the latest version of the Unicode Standard, see http://www.unicode.org/versions/latest/. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and the publisher was aware of a trade- mark claim, the designations have been printed with initial capital letters or in all capitals. Unicode and the Unicode Logo are registered trademarks of Unicode, Inc., in the United States and other countries. The authors and publisher have taken care in the preparation of this specification, but make no expressed or implied warranty of any kind and assume no responsibility for errors or omissions. No liability is assumed for incidental or consequential damages in connection with or arising out of the use of the information or programs contained herein. The Unicode Character Database and other files are provided as-is by Unicode, Inc. No claims are made as to fitness for any particular purpose. No warranties of any kind are expressed or implied. The recipient agrees to determine applicability of information provided. © 2020 Unicode, Inc. All rights reserved. This publication is protected by copyright, and permission must be obtained from the publisher prior to any prohibited reproduction. For information regarding permissions, inquire at http://www.unicode.org/reporting.html. For information about the Unicode terms of use, please see http://www.unicode.org/copyright.html. The Unicode Standard / the Unicode Consortium; edited by the Unicode Consortium. — Version 13.0. Includes index. ISBN 978-1-936213-26-9 (http://www.unicode.org/versions/Unicode13.0.0/) 1. -
Signs and Symbols Represented in Germanic, Particularly Early Scandinavian, Iconography Between the Migration Period and the End of the Viking Age
Signs and symbols represented in Germanic, particularly early Scandinavian, iconography between the Migration Period and the end of the Viking Age Peter R. Hupfauf Thesis submitted for the degree of Doctor of Philosophy, University of Sydney, 2003 Preface After the Middle Ages, artists in European cultures concentrated predominantly on real- istic interpretations of events and issues and on documentation of the world. From the Renaissance onwards, artists developed techniques of illusion (e.g. perspective) and high levels of sophistication to embed messages within decorative elaborations. This develop- ment reached its peak in nineteenth century Classicism and Realism. A Fine Art interest in ‘Nordic Antiquity’, which emerged during the Romantic movement, was usually expressed in a Renaissance manner, representing heroic attitudes by copying Classical Antiquity. A group of nineteenth-century artists, including Dante Gabriel Rossetti, Holman Hunt and Everett Millais founded the Pre-Raphaelite Brotherhood. John Ruskin, who taught aesthetic theory at Oxford, became an associate and public defender of the group. The members of this group appreciated the symbolism and iconography of the Gothic period. Rossetti worked together with Edward Burne-Jones and William Morris. Morris was a great admirer of early Scandinavian cultures, and his ideas were extremely influential for the development of the English Craft Movement, which originated from Pre-Raphaelite ideology. Abstraction, which developed during the early twentieth century, attempted to communicate more directly with emotion rather then with the intellect. Many of the early abstract artists (Picasso is probably the best known) found inspiration in tribal artefacts. However, according to Rubin (1984), some nineteenth-century primitivist painters appreciated pre-Renaissance European styles for their simplicity and sincerity – they saw value in the absence of complex devices of illusio-nist lighting and perspective. -
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. -
The Elder Futhark Rune Poem Final Draft
The Elder Futhark Rune Poem Final Draft The Elder Futhark The oldest rune row From the roots of the world tree, Yggdrasil, Connecting humanity, To the divine. The runes of Odin, 24 in total. Gathered from the roots of the World Tree, Through a trial by ordeal Of nine days and nine nights Hanging from an branch of Yggdrasil, Wounded by his own spear. Hearing their songs, Seeing their shapes He took them back with him Screaming their songs. The Elder Futhark, A guide to life A guide to making magick in time with the cosmic order. Freyja's Aett The aett of magick and initiation, Maintaining magickal order To Hagal's Aett The guide to the difficulties in your life, How to learn and grow from them And how to overcome them. Then to Tyr's Aett, Order and organisation Of Midguard and the worlds beyond. As above, So below. Elder Fultark Rune Poem - Khel'Shen Kyshera Du'Skhall Kre'mashen Akh'Hense 1 We first introduce Freyja's Aett, The aett of magick The aett of power The aett giving us the tools to master our fate. From Fehu, Symbolising abundance, energy and manifestation. The rune of material wealth. To Uruz, Signifying unbound universal will, The rune of the Aurochs, The rune of the primal cow, Audhuamla. To Thurisaz, The mighty protective rune The rune of protection and endurance, Of overcoming our challenges. To Anzus, The rune of the World Tree, Yggdrasil, Standing tall over all. To Raidho, The rune of the journey, Physical or mental, Mundane or spiritual. -
African, Rasta, Voodoo & Santeria Symbols
African, Rasta, Voodoo & Santeria Symbols Rasta, Vodou & Santeria Ethiopian Akua’ba Veve Eleggua Agwe Chiwara Cross Lion of Riscados Oshe Rasta Legba Judah Adinkra Symbols (Ghana): Kunten- Gye Nyame Osrane Aya Fihankra Ohene kanten Akokoa Bin nkabi Gyawu Kojo funtun Krado Symbols of the Ancient World Ancient Greek, Roman, Etruscan, Babylonian Omphalos Gorgon Caduceus Labrys Mano Fico Willendorf Goddess Goddess labrynth Gorgon Uroboros Lauburu Crucified Asclepius Hercules Orphic egg Trinacria Cimaruta Bacchus wand Knot Solomon’s Fasces Hygeia Tetraktys Minotaur Cornucopia knot Binding Mano Vergina Sun Hecate Spell Cornuto Assyrian/Babylonian, Phoenician, Syrian, and Zoroastrian Symbols Inanna’s Assyrian sun Shamash Ishtar seal Tanit Farohar Knot disk seal Tetragramm Adar Mespotamia Simurgh Kerub Tiamat aton “Dagon” Asian Symbols (Buddhism, Shinto, Taoism) Buddhist Symbols: Prayer Tomoe Kalachakra Manji Daruma Mala Wheel Enso (Zen) Footprint Jizo Kartika Vajra Dorje Wisdom Skull bowl Citipati Yab-Yum Om Mani… Ghanta Eyes Endless knot Conch Parasol Lotus Vase Phurba Golden Fish Manji Tomoe Dharma Mudra Stupa Tiratana Trisula Confucian, Folk, Taoist Symbols: Maneke Ba Gua Tomoe Yin Yang Hotei I Ching Neko Chan Chu Shou Tomoe I Ching Saturn Elements Double Water Gourd Daruma Hapiness Shinto Symbols: Maneke Tomoe Omamori Torii Gate Jizo Magatama Neko Astrological/Alchemical Symbols Astrological Symbols Leo Capricorn Virgo Taurus Libra Sagittarius Pisces Aries Cancer Scorpio Gemini Aquarius Jupiter Moon Sun Mars Mercury Venus Neptune Saturn Uranus Pluto Vesta Earth Capricornus Zodiac Greek Cross Alchemical Symbols Serpent Quint- Red King Saturn Sulfur Salt cross essence Air Fire Earth Water Sulfur Siren Viking Symbols, Norse Symbols, Asatru Symbols Symbols of Viking and Norse, Baltic/Slavic, and modern pagan religions, plus some traditional folk symbols for good measure. -
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 -
ᛶ 16F1 ᛷ 16F2 ᛸ 16F3 ᛱ 16F4 ᛲ 16F5 ᛁ 16C1 ᛳ 16F6 ᛴ 16F7 ᛵ
ISO/IEC JTC1/SC2/WG2 N4013R L2/11-096R 2011-05-10 Universal Multiple-Octet Coded Character Set International Organization for Standardization Organisation Internationale de Normalisation Международная организация по стандартизации Doc Type: Working Group Document Title: Proposal to encode additional Runic characters in the UCS Source: Michael Everson and Andrew West Status: Individual Contribution Action: For consideration by JTC1/SC2/WG2 and UTC Date: 2011-05-10 0. Introduction. A number of Runic characters should be encoded to fill gaps in the UCS. Three of them are found in the writings of J. R. R. Tolkien, and five of them are found on the Anglo-Saxon Franks Casket. If this proposal is accepted, the following characters will be added to the standard (since the Franks Casket characters replace original inherited runes, those are given on the right for comparison): ᛶ 16F1 RUNIC LETTER K ᛷ 16F2 RUNIC LETTER SH ᛸ 16F3 RUNIC LETTER OO ᛱ 16F4 RUNIC LETTER FRANKS CASKET OS ᚩ 16A9 RUNIC LETTER OS O ᛲ 16F5 RUNIC LETTER FRANKS CASKET IS ᛁ 16C1 RUNIC LETTER ISAZ IS ISS I ᛳ 16F6 RUNIC LETTER FRANKS CASKET EH ᛖ 16D6 RUNIC LETTER EHWAZ EH E ᛴ 16F7 RUNIC LETTER FRANKS CASKET AC ᚪ 16AA RUNIC LETTER AC A ᛵ 16F8 RUNIC LETTER FRANKS CASKET AESC ᚫ 16AB RUNIC LETTER AESC 1. Tolkienian extensions. Although for The Lord of the Rings J. R. R. Tolkien devised and employed two writing systems, the featural Tengwar script and the runiform Cirth script, in The Hobbit and some of his other writings he made use of Old English runes.