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Norse Myth Guide
Norse Myth If it has a * next to it don’t worry about it for the quiz. Everything else is fair game within reason as I know this is a lot. Just make sure you know the basics. Heimdall -Characteristics -Can hear grass grow -Needs only as much sleep as a bird -Guards Bifrost -Will kill and be killed by Loki at Ragnarok -He is one of the Aesir -Has foresight like the Vanir -Other Names -Vindhler -Means "wind shelter" -The White God As -Hallinskidi -Means "bent stick" but actually refers to rams -Gullintani -Received this nickname from his golden teeth -Relationships -Grandfather to Kon the Young -Born of the nine mothers -Items -Gjallarhorn -Will blow this to announce Ragnarok -Sword Hofund -Horse Golltop -Places -Lives on "heavenly mountain" Himinbjorg -Stories -Father of mankind -He went around the world as Rig -He slept with many women -Three of these women, Edda, Amma, and Modir, became pregnant -They gave birth to the three races of mankind -Jarl, Karl, and Thrall -Recovering Brisingamen -Loki steals Brisingamen from Freya -He turns himself into a seal and hides -Freya enlists Heimdall to recover the necklace -They find out its Loki, so Heimdall goes to fight him -Heimdall also turns into a seal, and they fight at Singasteinn -Heimdall wins, and returns the necklace to Freya -Meaning of sword -A severed head was thrown at Heimdall -After this incident, a sword is referred to as "Heimdall's head" -Possession of knowledge -Left his ear in the Well of Mimir to gain knowledge Aegir* -Characteristics -God of the ocean/sea -Is sometimes said -
Óðinn and His Cosmic Cross
Háskóli Íslands Hugvísindasvið Norrænt meistaranám í víkinga- og miðaldafræðum ÓÐINN AND HIS COSMIC CROSS Sacrifice and Inception of a God at the Axis of the Universe Lokaverkefni til MA-gráðu í Norrænt meistaranám í víkinga- og miðaldafræðum Jesse Benjamin Barber Kt.: 030291-2639 Leiðbeinandi: Gísli Sigurðsson Luke John Murphy May 2017 1 Acknowledgements: I would like to thank Gísli Siggurðsson for his primary supervision and guidance throughout the writng of this thesis. I would also like to thank Luke John Murphy for his secondary supervision and vital advice. Thanks to Terry Gunnell for his recommendations on literature and thanks to Jens Peter Schjødt, who helped me at the early stages of my research. I would also like to thank all of the staff within the Viking and Medieval Norse Studies Master’s Program, thank you for two unforgettable years of exploration into this field. Thank you to my family and friends around the world. Your love and support has been a source of strength for me at the most difficult times. I am grateful to everyone, who has helped me throughout these past two years and throughout my education leading up to them. 2 Abstract: Stanzas 138 through 141 of the eddic poem Hávamál illustrate a scene of Óðinn’s self- sacrifice or sjálfsfórn, by hanging himself from a tree to obtain the runes. These four stanzas, which mark the beginning of the section Rúnatals þáttr, constitute some of the most controversial and important eddic poetry. Concerning the passage, Jens Peter Schjødt says it is one of the most interesting scenes in the entire Old Norse Corpus from the perspective of Religious History. -
Nerthus, That Is, Mother Earth
Odin’s Wife: Mother Earth in Germanic Mythology SAMPLE CHAPTER © 2018 William P. Reaves II. Nerthus, that is, Mother Earth “Tacitus’ much-quoted account in Germania ch. 40 of the ceremonies related to the goddess Nerthus in the area around Schleswig-Holstein or Jylland is of particular interest here for several reasons. First of all, it suggests that the images of the Bronze Age petroglyphs depicting the hieros gamos and processions related to a fertility deity had parallels in southern Scandinavia as late as AD 100, when Tacitus wrote his account. Secondly, it provides the first reliable evidence that the ceremonies were now associated with a named goddess, who must therefore have had her own mythology and background. This in turn implies that enacted rituals to do with the goddess probably had a mythological parallel.” —Terry Gunnell, The Origins of Drama in Scandinavia, (1995), p.53. In literature, Terra Mater (Mother Earth) first appears as a distinct figure of the old heathen religion in the Germania. Despite intense scholarly debate over the motivations of its author, Germania, written by the Roman historian Tacitus around 98 AD, was probably intended as an accurate account of the customs and conditions of the Germanic tribes who posed a threat on the northern border of the Roman Empire for several hundred years. While his moral observations of the Germanic tribes in contrast to the Roman way of life have led some scholars to propose that this was his chief aim in writing it, this is not sufficient as a general interpretation of the text.1 Not only does Tacitus criticize the Germanic way of life almost as often as he praises it, but much of the material has nothing to do with moral issues and cannot be explained simply as filler. -
Hogbacks: Christian and Pagan Imagery on Viking Age Monuments
Hogbacks: Christian and pagan imagery on Viking Age monuments Alby Stone investigates the origins, symbolism and possible meaning of these unusual Viking carved stones. OGBACKS ARE ARRESTING monuments. Their unique Hdesign makes them interesting as artefacts in their own right, but they also raise important questions with regard to the iconography of both paganism and Christianity in northern England during the Viking Age. These impressively solid- looking house-shaped sculptures, with their characteristic curved ridges, are found mostly in the north of England, with a handful of others scattered around Figure 1: Lowther hogback (after Collingwood) Ireland, Scotland, Wales, southern England and Scandinavia in areas associated with settlers from Scandinavia monuments at all, as there is nothing to crosses both superfluous and difficult to and Viking-controlled Ireland. There are connect them with burials or the dead - achieve. Similar animals occupy the several distinct types of hogback, of though that has not prevented any gable-ends of hogbacks at Heysham in varying size but most are around 1 to 1.5 number of authorities describing them as Lancashire, Lowther in Cumbria (the metres in length, though their bulk such. For instance, Collingwood refers to smaller hogback), Burnsall in Yorkshire, makes them seem bigger. All conform to hogbacks as ‘recumbent tombstones’ and elsewhere. Others, such as the Saint’s the same basic pattern: rounded or (Collingwood 1927: 164]; while Foote Tomb at Gosforth, have end-beasts that squared gable-ends and side-panels with and Wilson call them ‘tomb-covers’ are little more than disembodied heads. slightly convex surfaces rising from a (Foote and Wilson 1980: 152). -
Doorway to Devotion: Recovering the Christian Nature of the Gosforth Cross
religions Article Doorway to Devotion: Recovering the Christian Nature of the Gosforth Cross Amanda Doviak Department of History of Art, University of York, York YO10 5DD, UK; [email protected] Abstract: The carved figural program of the tenth-century Gosforth Cross (Cumbria) has long been considered to depict Norse mythological episodes, leaving the potential Christian iconographic import of its Crucifixion carving underexplored. The scheme is analyzed here using earlier ex- egetical texts and sculptural precedents to explain the function of the frame surrounding Christ, by demonstrating how icons were viewed and understood in Anglo-Saxon England. The frame, signifying the iconic nature of the Crucifixion image, was intended to elicit the viewer’s compunction, contemplation and, subsequently, prayer, by facilitating a collapse of time and space that assim- ilates the historical event of the Crucifixion, the viewer’s present and the Parousia. Further, the arrangement of the Gosforth Crucifixion invokes theological concerns associated with the veneration of the cross, which were expressed in contemporary liturgical ceremonies and remained relevant within the tenth-century Anglo-Scandinavian context of the monument. In turn, understanding of the concerns underpinning this image enable potential Christian symbolic significances to be suggested for the remainder of the carvings on the cross-shaft, demonstrating that the iconographic program was selected with the intention of communicating, through multivalent frames of reference, the significance of Christ’s Crucifixion as the catalyst for the Second Coming. Keywords: sculpture; art history; archaeology; early medieval; Anglo-Scandinavian; Vikings; iconog- raphy Citation: Doviak, Amanda. 2021. Doorway to Devotion: Recovering the Christian Nature of the Gosforth Cross. -
Norwegian Behind the King’S Choice: an Interview with Erik Poppe American Story on Page 10 Volume 128, #1 • November 3, 2017 Est
the Inside this issue: NORWEGIAN Behind The King’s Choice: an interview with Erik Poppe american story on page 10 Volume 128, #1 • November 3, 2017 Est. May 17, 1889 • Formerly Norwegian American Weekly, Western Viking & Nordisk Tidende $3 USD Edvard Munch: Color in Context A new exhibit in Washington, DC, uses theosophy to interpret the Norwegian artist’s use of color CHRISTINE FOSTER MELONI Washington, D.C. Was Norwegian artist Edvard Munch influenced by When visitors enter the small gallery, they may pick WHAT’S INSIDE? the philosophical and pseudo-scientific movements of up a laminated card with the color chart created by the Hvor vakkert bladene eldes. « Nyheter / News 2-3 his time? theosophists in 1901. The chart shows the colors corre Så fulle av lys og farge er deres He definitely came into contact with spiritualists sponding to 25 different thought forms (e.g., dark green siste dager. » Business 4-5 when he was young. His childhood vicar was the Rev. represents religious feeling, tinged with fear). They can – John Burroughs Opinion 6-7 E. F. B. Horn, a well-known spiritualist. While living then use this chart to determine the emotions Munch Sports 8-9 as a young artist in Oslo, he became familiar with the was trying to convey. Arts & Entertainment 10-11 Scientific Public Library of the traveling medium Hen Let’s look at two of these prints and consider the drick Storjohann. possible interpretations according to the color chart. Taste of Norway 12-13 The current exhibit at the National Gallery in Norway near you 14-15 Washington, D.C., sets out to explain how Munch ap Girl’s Head against the Shore Travel 16-17 plied theosophic ideas to his choice and combination of In this color woodcut we see a woman with black Norwegian Heritage 18-19 colors. -
Nordic Symbol of Guidance Vector
Nordic Symbol Of Guidance Vector Matterless Vin convalescing or disanoint some syrinx unstoppably, however eroded Nathanial exposing asexually or flagellated. Unwatery Kane aphorising winsomely and acropetally, she brace her Jonah winnow howsoever. Anthracoid and Kufic Geri encrypts while Northumbrian Georg whirried her irrigator anticipatorily and crevassing manageably. Here is an offensive symbol that are more ancient practices belonging to sign posts to protect themselves and come in any of nordic These emissaries shall not just a dane or ring representing a problem sending your customers of nordic symbol of guidance vector illustration in order history, declaring your social media graphics. As a barrel of protection and guidance it out often used as compass But Vikings usually used sunstone as navigation gear sunstone This was proved by. The chance to an inner journey of a surprisingly large to point than being in norse mythology, innan konongsrikis man, which requires permission from? What led the meaning of oil red triangle? Keith leather maker has built by picking up! In Greek the first letters of the words Jesus Christ Son is God often spell Ichthus meaning fish When found early Christians were persecuted they used the Ichthus as a secret page to identify themselves to conceal other Today it is character of different most widely recognized symbols of Christianity. Of the runic stave but says that mill could adultery be used for spiritual guidance and protection. Most staves were can be carved on its specific surfaces, such as even particular metal or third of wood. Vegvisir is swept with each time in this notation did you do you for women are out all things we know about them. -
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. -
The Picture Stones of Gotland: Type C and D Stones As Death Memorials
THE PICTURE STONES OF GOTLAND: TYPE C AND D STONES AS DEATH MEMORIALS _______________ A Thesis Presented to The Faculty of the Department of Comparative Cultural Studies University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Master of Arts _______________ By Kelsie H. Spears May, 2016 THE PICTURE STONES OF GOTLAND: TYPE C AND D STONES AS DEATH MEMORIALS _______________ An Abstract of a Thesis Presented to The Faculty of the Department of Comparative Cultural Studies University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Master of Arts _______________ By Kelsie H. Spears May, 2016 ABSTRACT This thesis focuses on the picture stones of Gotland, Sweden dating to the Viking Age. The Viking Age picture stones are made up of two groups, C and D, as delineated by Sune Lindqvist, dating to 700-1000 AD. Utilizing a basic hypothesis by Björn Varenius, which was applied to Early Iron Age picture stones, a research plan was created and applied to the stones of the Viking Age. An iconographic analysis was performed on six well-known stones found in the Gotland Museum and Swedish National Antiquity Museum. This iconographic analysis used the frequency of individual images and a correlation of images appearing together to interpret the basic thematic meaning of the iconography. A landscape discussion and context analysis was done on three sites, Buttle Änge, Fröjel Stenstugu, and Visne ängar, which had in situ picture stones. The landscape discussion sought to find significant features which could be connected to the stones and interpreted. -
Ritgerð Til MA-Prófs the Plant-Bearing Figure
Ritgerð til MA-prófs í Íslenskum miðaldafræðum The Plant-Bearing Figure Accessing Liminality via Feminine Gender Role Adoption Raenelda Rivera Leiðbeinandi Jan Alexander van Nahl Febrúar 2020 Háskóli Íslands Hugvísindasvið Medieval Icalandic Studies The Plant-Bearing Figure Accessing Liminality via Feminine Gender Role Adoption Ritgerð til M.A.-prófs Raenelda Rivera Kt.: 150484-4649 Leiðbeinandi: Jan Alexander van Nahl Febrúar 2020 Útdráttur Hvorki plöntamyndir né myndir af mönnum eru sjaldséðar síðla járnaldar né snemma miðalda í Skandinavíu. Dæmi um kvenleg, plöntuberandi form eru þó ekki algeng og fígúrurnar hafa enn ekki verið ræddar í víðtækum fræðiritum, þrátt fyrir að hafa margoft komið fram í ýmsum miðlum. Með listasögulegri rannsókn á þessum mótíf legg ég til að plöntuberinn tákni veru sem er utan kynjafræðilegs ramma sem íklæðist kvenleika til að fá aðgang að liminalitet. Með kastljósi kynja-og hinsegin kenninga, útskýri ég mikilvægi skynjaðs kyns. Með því að nota afköst og táknmyndir til að greina plöntuberann sem er að finna í sérstökum völdum myndum sem finnast á Gotlandssteinunum, gullbrjóstmyndum og gullpappírsgögnum, þá tengir síðari greining plöntuberandi myndina við kvenleika — þó ekki kvenkynið - jaðarkenningar, og þekkingu. Auk listasögulegra rannsókna eru tengsl milli þeirra fígúra og kvenleika sem finnast í samtímabókmenntum steinana og tengja þau myndina við aðrar heimildir um félagslega virkni síðla járnaldar og snemma miðalda í Skandinavíu. Þessar rannsóknir eru grunnurinn að framtíðarsögulegum rannsóknum á járnöld og snemma miðalda í Skandinavíu og veitir innsýn í myndagerð, félagslega uppbyggingu og félagslega frammistöðu leikara á hverjum stað. 1 Abstract Neither plant imagery nor depictions of the human form are rare in late Iron Age and early medieval Scandinavia. -
FUTHARK: an Introduction to the 1St Six
FUTHARK: An Introduction to the 1st Six Workshop by: Mike Smith, Úlfar aff Jera Þjóð www.facebook.com/mikesmiththewriter Darmok and Jalad at Tenagra: Cultural Context Historical Rune Origins “Quickie”: North-Italic/Etruscan Theory by C.S.J. Marstrander (1928), strengthened & modified by Wolfgang Krause (1937) is the strongest. With alterations to the original theory, the Raetic (Bolzano) seems most likely according to Bernard Mees (2000). It theorizes that Germanic peoples living in the Alps region adopted North-Italic scripts as early as 300BC when Cimbri came in contact with the writing system, adopted it to a degree, and then passed onto the Suebi which then in turn spread it up through the Rhineland, to the North Sea, into Jutland, and thus into Scandinavia. No finds of runic script that early (earliest is Meldorf Brooch 50 CE) occur, but the Helm of Negu inscription uses North-Italic to write in a Germanic language! It is believed to be a combination of North-Italic script with indigenous symbols that has existed since the Bronze Age. Some of these ideographic symbols show similarities to the various runestaves, but were probably used to convey ideas and concepts rather than an actual form of writing. **Note: The “notae” of Tacitus (Ch. 10, Germania) on the carved strips of wood would have occurred around 98 CE. ***Only examples of F ULL Elder F uthark rows are on the Kylver Stone (400 CE), the Vadstena and Motala bracteates (450-550 CE), the Grumpan bracteate (450-550 CE), the marble column of Breza (500 CE). Particals include the Beuchte Fibula (450-550 CE), the Charnay fibula (550-600 CE), and the Aquincum fibula (550 CE). -
Gotland's Picture Stones
GOTLAND Gotland’s Picture Stones Bearers of an Enigmatic Legacy otland’s picture stones have long evoked people’s fascination, whether this ’ Ghas been prompted by an interest in life in Scandinavia in the first millennium S PICTURE STONES or an appreciation of the beauty of the stones. The Gotlandic picture stones offer glimpses into an enigmatic world, plentifully endowed with imagery, but they also arouse our curiosity. What was the purpose and significance of the picture stones in the world of their creators, and what underlying messages nestle beneath their ima- gery and broader context? As a step towards elucidating some of the points at issue and gaining an insight into current research, the Runic Research Group at the Swe- dish National Heritage Board, in cooperation with Gotland Museum, arranged an inter national interdisciplinary symposium in 2011, the first symposium ever to focus exclu sively on Gotland’s picture stones. The articles presented in this publication are based on the lectures delivered at that symposium. of an Enigmatic Legacy Bearers ISBN 978-91-88036-86-5 9 789188 036865 GOTLAND’S PICTURE STONES Bearers of an Enigmatic Legacy gotländskt arkiv 2012 Reports from the Friends of the Historical Museum Association Volume 84 publishing costs have been defrayed by Kungl. Vitterhetsakademien, Wilhelmina von Hallwyls Gotlandsfond, Stiftelsen Mårten Stenbergers stipendiefond and Sällskapet DBW:s stiftelse editor Maria Herlin Karnell editorial board Maria Herlin Karnell, Laila Kitzler Åhfeldt, Magnus Källström, Lars Sjösvärd,