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Old Norse Mythology — Comparative Perspectives Old Norse Mythology— Comparative Perspectives
Publications of the Milman Parry Collection of Oral Literature No. 3 OLd NOrse MythOLOgy — COMParative PersPeCtives OLd NOrse MythOLOgy— COMParative PersPeCtives edited by Pernille hermann, stephen a. Mitchell, and Jens Peter schjødt with amber J. rose Published by THE MILMAN PARRY COLLECTION OF ORAL LITERATURE Harvard University Distributed by HARVARD UNIVERSITY PRESS Cambridge, Massachusetts & London, England 2017 Old Norse Mythology—Comparative Perspectives Published by The Milman Parry Collection of Oral Literature, Harvard University Distributed by Harvard University Press, Cambridge, Massachusetts & London, England Copyright © 2017 The Milman Parry Collection of Oral Literature All rights reserved The Ilex Foundation (ilexfoundation.org) and the Center for Hellenic Studies (chs.harvard.edu) provided generous fnancial and production support for the publication of this book. Editorial Team of the Milman Parry Collection Managing Editors: Stephen Mitchell and Gregory Nagy Executive Editors: Casey Dué and David Elmer Production Team of the Center for Hellenic Studies Production Manager for Publications: Jill Curry Robbins Web Producer: Noel Spencer Cover Design: Joni Godlove Production: Kristin Murphy Romano Library of Congress Cataloging-in-Publication Data Names: Hermann, Pernille, editor. Title: Old Norse mythology--comparative perspectives / edited by Pernille Hermann, Stephen A. Mitchell, Jens Peter Schjødt, with Amber J. Rose. Description: Cambridge, MA : Milman Parry Collection of Oral Literature, 2017. | Series: Publications of the Milman Parry collection of oral literature ; no. 3 | Includes bibliographical references and index. Identifers: LCCN 2017030125 | ISBN 9780674975699 (alk. paper) Subjects: LCSH: Mythology, Norse. | Scandinavia--Religion--History. Classifcation: LCC BL860 .O55 2017 | DDC 293/.13--dc23 LC record available at https://lccn.loc.gov/2017030125 Table of Contents Series Foreword ................................................... -
Destination Sigtuna
ARLANDA • MÄRSTA • ROSERSBERG • SIGTUNA STAD DISCOVER SIGTUNA WELCOME TO SIGTUNA COME FOR A VISIT! PLEASE VISIT us – three tourist offices are ready to welcome you all year round. If you are travelling to Stockholm Arlanda Airport, you will find the tourist information office in the arrival halls in Terminal 5 and Terminal 2. Arlanda Visitors Center is open around the clock and is staffed between 06–24. The Sigtuna Tourist office can be found at Stora gatan 33 in Sigtuna town. Here you can book guided tours and get help to plan your visit. Visiting address: Stora gatan 33, Sigtuna Postal adress: Box 117, 193 23 Sigtuna Phone: +46 (0)8 591 269 60 E-mail: [email protected] NMÄ NE RK A E V T S WANT TO KNOW MORE? DESTINATIONSIGTUNA.SE FOLLOW US: FACEBOOK.COM/SIGTUNA Trycksak INSTAGRAM.COM/DESTINATION_SIGTUNA 5041 0004 SIGTUNAGUIDE PUBLISHER Destination Sigtuna AB WRITER Anna Forster PHOTO COVER AND CONTENT Linus Hallgren ADDITIONAL PHOTOS Helena Brännström, Lennart Durehed, Marielle Brolin, Ralf Turander MAPS David Karlström 2 WELCOME TO SIGTUNA — WHERE SWEDEN BEGINS Sigtuna, Sweden’s first town was built as a political and religious center of power over 1000 years ago. Sigtuna quickly became a meeting place for people from all over the world, and remains so to this day. Sigtuna is one of the nation’s premier hotel and conference destinations with over 4000 beds ready for you. A unique place to meet and to discover. You will find us less than one hour from Stockholm or Uppsala. Sigtuna is easily accessible with the SL card, car, boat or why not by plane to Sigtuna’s own Stockholm – Arlanda Airport. -
Program of the 76Th Annual Meeting
PROGRAM OF THE 76 TH ANNUAL MEETING March 30−April 3, 2011 Sacramento, California THE ANNUAL MEETING of the Society for American Archaeology provides a forum for the dissemination of knowledge and discussion. The views expressed at the sessions are solely those of the speakers and the Society does not endorse, approve, or censor them. Descriptions of events and titles are those of the organizers, not the Society. Program of the 76th Annual Meeting Published by the Society for American Archaeology 900 Second Street NE, Suite 12 Washington DC 20002-3560 USA Tel: +1 202/789-8200 Fax: +1 202/789-0284 Email: [email protected] WWW: http://www.saa.org Copyright © 2011 Society for American Archaeology. All rights reserved. No part of this publication may be reprinted in any form or by any means without prior permission from the publisher. Program of the 76th Annual Meeting 3 Contents 4................ Awards Presentation & Annual Business Meeting Agenda 5………..….2011 Award Recipients 11.................Maps of the Hyatt Regency Sacramento, Sheraton Grand Sacramento, and the Sacramento Convention Center 17 ................Meeting Organizers, SAA Board of Directors, & SAA Staff 18 ............... General Information . 20. .............. Featured Sessions 22 ............... Summary Schedule 26 ............... A Word about the Sessions 28…………. Student Events 29………..…Sessions At A Glance (NEW!) 37................ Program 169................SAA Awards, Scholarships, & Fellowships 176................ Presidents of SAA . 176................ Annual Meeting Sites 178................ Exhibit Map 179................Exhibitor Directory 190................SAA Committees and Task Forces 194…….…….Index of Participants 4 Program of the 76th Annual Meeting Awards Presentation & Annual Business Meeting APRIL 1, 2011 5 PM Call to Order Call for Approval of Minutes of the 2010 Annual Business Meeting Remarks President Margaret W. -
A Knaver in the Works! 1 a Knaver in the Works! Nya Arkeologiska Fynd Ger Instrumentforskningen Problem Jan Winter
Sigtunafyndet: A knaver in the works! 1 A knaver in the works! Nya arkeologiska fynd ger instrumentforskningen problem Jan Winter När arkeologen Anders Söderberg i februari 2016 presenterade ett arkeologiskt fynd från Sigtuna vid The Archaeology of Sound, Acoustics and Music, A symposium in honour of Cajsa S. Lund i Växjö möttes han av entusiasm eftersom fyndet beskrevs som ”the earliest known key for a possible nyckelharpa”.1 Fyndet åtföljdes av en datering - 1200-talet. Det ökade frågetecknen dramatiskt eftersom de hittills äldsta kända bevarade nyckelharporna är från slutet av 1600-talet.2 Vid samma konferens i Växjö presenterade den polska musikarkeologen Dorota Popławska uppgifter som gjorde gällande att man hittat instrumentlocket från en nyckelharpa nära Wolin vid Östersjökusten. Också detta fynd daterades till 1200-talet. Därmed hade två av varandra oberoende sensationella musikhistoriska fynd dykt upp som i praktiken kullkastade hittills accepterade fakta rörande de allra tidigaste instrumentfynden av nyckelharpa. Sigtunafyndets ursprung och betydelse diskuterades livligt i nyckelharpskretsar under våren 2016, delvis med Söderberg som debattdeltagare. Samma vår visades detta fynd upp i Sigtuna museums utställning Trä 2.0 – tiden är ingenting, åter med tidsbestämningen 1200-talet och presenterad under en stiliserad teckning av en nyckelharpa från 1700-talet. Under sommaren publicerades Sigtunafyndet i den arkeologiska tidskriften Fornvännen under rubriken Medieval string instrument finds from Sigtuna, including the earliest known key for a possible nyckelharpa.3 Att hitta föremål som på något sätt bekräftar det svårtolkade medeltida ikonografiska källmaterialet kring de tidigaste nyckelharporna i Europa är sensationellt. Trots detta har fynden väckt mycket liten uppmärksamhet bland etablerade musikhistoriker och instrumentforskare i Sverige. -
Contents & Introduction
Bridging Material & Living Cultures Music& Raquel Jiménez, Rupert Till and Mark Howell, eds. Ritual Music & Ritual: Bridging Material & Living Cultures Jiménez Pasalodos, Raquel / Till, Rupert / Howell, Mark (eds.) Publications of the ICTM Study Group on Music Archaeology, Vol. 1 Series Editor: Arnd Adje Both Berlin: Ekho Verlag, 2013 394 pages with 78 gures, 4 tables and 2 charts ISSN 2198-039X ISBN 978-3-944415-10-9 (Series) ISBN 978-3-944415-11-6 (Vol. 1) ISBN 978-3-944415-13-0 (PDF) Layout and Typography: Claudia Zeißig · Büro für Kommunikation & Design Printed: DDZ Berlin Ekho Verlag Dr. Arnd Adje Both, Berlin [email protected] | www.ekho-verlag.com All rights are reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of Ekho Verlag. © 2013 Ekho Verlag UVA Coordinator: Juan P. Arregui Funding Entity: Ministerio de Economía y Competitividad Secretaría de Estado de Investigación, Desarrollo e Innovación Ref: HAR2011-15090-E 5 Contents 9 Introduction to the Series Arnd Adje Both 15 Preface and Acknowledgments Maria Antonia Virgily Blanquet / Juan Peruarena Arregui / Raquel Jiménez Pasalodos 17 Introduction to the Volume Ritual Music and Archaeology: Problems and Perspectives Raquel Jiménez Pasalodos / Rupert Till / Mark Howell 25 The Round-Bodied Lute (Ruan) and the Ideal of the ‘Cultivated Gentleman’ in Fourth- to Eighth-Century Chinese Funerary Arts: A Preliminary Study Ingrid Furniss 43 Divinized Instruments and Divine Communication in Mesopotamia John C. Franklin 63 Sounds for Gods, Sounds for Humans: Triton Shell Horns in Phoenician and Punic Contexts from the Western Mediterranean Antonio M. -
The Old Potter's Almanack
The Old Potter’s Almanack Page 23 THE BRAZING OF IRON AND THE unidentified in pictures in the catalogue (cf. Gebers METALSMITH AS A SPECIALISED POTTER 1981, 120 where figs. 1 and 2 may depict fragments of brazing packages for padlocks). Anders Söderberg Sigtuna Museum Sweden Email: [email protected] Introduction In early medieval metal craft, ceramics were used for furnace and forge linings and for crucibles and containers for processing metals, processes like refining, assaying and melting. Ceramic materials were also used in processes such as box carburisation and brazing, which is more rarely paid attention to. In the latter cases, we are merely talking about tempered clay as a protective “folding material”, rather than as vessels. The leftover pieces from the processes, though, look very similar to crucible fragments, which is why the occurrence of brazing and carburisation easily gets missed when interpreting workshop sites. Yet, just like the crucibles, they tell about important processes and put Figure 1. Map of Scandinavia, Denmark, the Baltic Sea and the spotlight on the metalworkers as skilled potters. the different sites mentioned in this paper (A. Söderberg). Leftover pieces of what probably were clay What are probably the remains of fragments wrappings used in box carburisation, performed as emerging from the brazing of small bells, were found described by Theophilus in book III, chapters 18 and at Helgö and in Bosau (Figure 2; cf. Gebers 1981, 19 (Hawthorne and Smith 1979, 94–95), seem to be 120 figs. 3-6), in early Christian Clonfad in Ireland relatively common at early medieval workshop sites (Young 2005, 3; Stevens 2006, 10) and in a Gallo- in Sweden. -
Andrey Grinev, Phd Student Lomonosov Moscow State
Andrey Grinev, PhD student Lomonosov Moscow State University REPORT ON THE PROJECT RESEARCH of CULTURAL COMMUNICATIONS between OLD RUS AND SCANDINAVIA in the LATE VIKING AGE (X-XI th centuries) (on materials of collections of objects from organic materials) Stockholm, Sigtuna, Uppsala, Lödöse March – May, 2018 Introduction The Sverker Åström Foundation is the unique organization contributing to the establishment and development of Russian-Swedish relationships in fields of science, art, culture, technology, ecology and so on. Collaboration with this Foundation allows receiving new experience, learning up-to-date methodic and striking up new acquaintances with specialists and colleagues for many young researchers. This project is devoted to the investigation of Russian-Swedish contacts in the Late Viking Age (10 – 11th centuries) basing on the analysis of archaeological sources. Concept Old Rus and Scandinavia are two huge regions, which played an extremely important role in the history of Europe during the Middle Ages. It is well known from writing sources that there were very firm contacts between these territories in the Early Middle Ages, which were reflected through dynastic matrimonies, trading, martial co-operation etc. All these things left their traces in material culture. The problem of relationships between Old Rus and Scandinavia in Early Middle Ages and the problem of archaeological evidence of these contacts is of current importance for many decades. Writing sources (chronicles and sagas), burial rites, weapon, jewellery, and diverse household utensils were under consideration during this period, but despite the long-time research, this problem is not used up. The great part of the material culture, first of all consisting of artefacts made of organic materials (bone and wood), was out of the attention of scholars. -
Why You Can Actually Sing: a Study of Human Evolution and Culture As Influenced by Music Cassandra E
Western University Scholarship@Western SASAH 4th Year Capstone and Other Projects: School for Advanced Studies in the Arts and Publications Humanities (SASAH) Spring 4-30-2018 Why You Can Actually Sing: A Study of Human Evolution and Culture as Influenced by Music Cassandra E. Haley Western University, [email protected] Follow this and additional works at: https://ir.lib.uwo.ca/sasahyr4pub Part of the Biology Commons, Esthetics Commons, and the Musicology Commons Citation of this paper: Haley, Cassandra E., "Why You Can Actually Sing: A Study of Human Evolution and Culture as Influenced by Music" (2018). SASAH 4th Year Capstone and Other Projects: Publications. 1. https://ir.lib.uwo.ca/sasahyr4pub/1 Haley 1 Why You Can Actually Sing: A Study of Human Evolution and Culture as Influenced by Music Cassandra Haley SASAH 4490/MUSIC 2950 Professor S. Wei 30 April 2018 Introduction It’s the age-old line of karaoke revellers and socialites alike: “I can’t even try to sing that!” Although such attempts may be a clever rouse to avoid public embarrassment, singing and music in general is as natural to humans as drawing breath. For as long as humankind has recorded history, life experiences, values, and accomplishments, music has been a messenger that has transcended the planes of language and art to become unsurpassed in its breadth of variety and uses; globally, despite thousands of miles geographically separating ancient cultures, music has been and is still used to describe events, ideas, and emotions in, as Nietzche might describe, a ‘Dionysian’ manner. Since the universal use of music to share knowledge and emotions is indisputable, such widespread use begs the larger question of why isolated cultures throughout history used this medium to tell their stories. -
Population Genomics of the Viking World
bioRxiv preprint doi: https://doi.org/10.1101/703405; this version posted July 17, 2019. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY-NC-ND 4.0 International license. 1 Population genomics of the Viking world 2 3 Ashot Margaryan1,2,3*, Daniel Lawson4*, Martin Sikora1*, Fernando Racimo1*, Simon Rasmussen5, Ida 4 Moltke6, Lara Cassidy7, Emil Jørsboe6, Andrés Ingason1,58,59, Mikkel Pedersen1, Thorfinn 5 Korneliussen1, Helene Wilhelmson8,9, Magdalena Buś10, Peter de Barros Damgaard1, Rui 6 Martiniano11, Gabriel Renaud1, Claude Bhérer12, J. Víctor Moreno-Mayar1,13, Anna Fotakis3, Marie 7 Allen10, Martyna Molak14, Enrico Cappellini3, Gabriele Scorrano3, Alexandra Buzhilova15, Allison 8 Fox16, Anders Albrechtsen6, Berit Schütz17, Birgitte Skar18, Caroline Arcini19, Ceri Falys20, Charlotte 9 Hedenstierna Jonson21, Dariusz Błaszczyk22, Denis Pezhemsky15, Gordon Turner-Walker23, Hildur 10 Gestsdóttir24, Inge Lundstrøm3, Ingrid Gustin8, Ingrid Mainland25, Inna Potekhina26, Italo Muntoni27, 11 Jade Cheng1, Jesper Stenderup1, Jilong Ma1, Julie Gibson25, Jüri Peets28, Jörgen Gustafsson29, Katrine 12 Iversen5,64, Linzi Simpson30, Lisa Strand18, Louise Loe31,32, Maeve Sikora33, Marek Florek34, Maria 13 Vretemark35, Mark Redknap36, Monika Bajka37, Tamara Pushkina15, Morten Søvsø38, Natalia 14 Grigoreva39, Tom Christensen40, Ole Kastholm41, Otto Uldum42, Pasquale Favia43, Per Holck44, Raili -
The Viking World
THE VIKING WORLD Edited by Stefan Brink in collaboration with Neil Price Routledge R Taylor & Francis Group LONDON AND NEW YORK CONTENTS List of illustrations xi List of contributors xv Preface xix Stefan Brink and Neil Price Abbreviations xx i Introduction i Stefan Brink Who were the Vikings? 4 Stefan Brink PART I: VIKING AGE SCANDINAVIA People, society and social institutions 1 Scandinavia before the Viking Age 11 Lotte Hedeager 2 Law and society: polities and legal customs in Viking Scandinavia 23 Stefan Brink 3 The Sami and their interaction with the Nordic peoples 32 Inger Zachrisson 4 Women and sexual politics 40 AuSur G. Magnusdottir 5 Slavery in the Viking Age 49 Stefan Brink Living space 6 Naming the land 57 Stefan Brink v — Contents — 7 Farm and village in the Viking Age 67 Jan-Henrik Fallgren (i) Manor, cult and market at Lake Tiss0 77 Lars j0rgensen 8 The development of urbanism in Scandinavia 83 Dagfinn Skre (1) Birka 94 Bjorn Ambrosiani (2) Hedeby: an outline of its research history 101 Volker Hilberg (3) Kaupang — 'Skfringssalr' 112 Dagfinn Skre (4) Lejre and Roskilde 121 Tom Christensen (5) Ribe 126 Claus Feveile (6) 'Ridanass': a Viking Age port of trade at Frojel, Gotland 131 Dan Carlsson (7) Sebbersund 135 Jens N. Nielsen (8) Sigtuna 140 Jonas Ros (9) Viking Age Uppakra and Lund I45 Birgitta Hdrdh Technology and trade 9 Local and long-distance exchange 150 S0ren Michael Sindbcek 10 Coinage and monetary economies 159 Svein H. Gullbekk 11 Viking ships and the sea 170 Jan Bill 12 Viking Age textiles 181 Annika Larsson 13 -
Sound from the Past the Interpretation of Musical Artifacts in an Archaeological Context
Sound from the Past The Interpretation of Musical Artifacts in an Archaeological Context 7th Symposium of the International Study Group on Music Archaeology Monday 20th – Saturday 25th September 2010 Tianjin Conservatory of Music, Tianjin, China — PROGRAM — Monday, September 20, 2010 Check in and Inscription:Radisson Plaza Hotel Tianjin 18: 30-21:30 Reception: Buffet dinner at the Radisson Plaza Hotel Tianjin Tuesday, September 21, 2010 8:30-9:30 Opening Ceremony (Concert Hall) 9:30-10:00 Have a Group Photo and Coffee Break(Coffee Break Area) I Methodology (Conference Room III) 10:00-12:00 Chair: Arnd Adje Both Culture within Cultures? Considering Mesopotamien Multiculturalism in Music Dahlia Shehata Sound-producing Instruments, Pre-instruments and Instruments in the Study of Music Archaeology Fang Jianjun - 1 - Ancient Aerophones of Coastal Oaxaca, Mexico: The Archaeological and Social Context of Music Sarah B. Barber / Guy David Hepp Story of the Double-pipe in Asia Minor: Past and Present Zeynep Helvaci 12:00-14:00 Lunch Break (Shenjiang Holiday Restaurant) 14:00-16:00 Chair: Li Mei Possible Percussion Instruments in Scandinavia’s Prehistory: Questions and Problems, Theory and Data Cajsa S. Lund Music Assimilation of the Postclassic K‘iche’ Maya: Warrior Dance into the Colonial Era Baile de los Morosy Cristianos Mark Howell A Probe to the Tone Measurement Technology in Ancient China: On a Basic Concept of Music Archaeological History of China Guo Shuqun / Kong Weifeng String Instruments as Status Symbol and Research Object: The Case -
C:\My Documents II\09Th Conference Winternitz\Abstract Booklet\01Title
THE RESEARCH CENTER FOR MUSIC ICONOGRAPHY and THE METROPOLITAN MUSEUM OF ART Music in Art: Iconography as a Source for Music History THE NINTH CONFERENCE OF THE RESEARCH CENTER FOR MUSIC ICONOGRAPHY, COMMEMORATING THE 20TH ANNIVERSARY OF DEATH OF EMANUEL WINTERNITZ (1898–1983) New York City 5–8 November 2003 Cosponsored by AUSTRIAN CULTURAL FORUM NEW YORK http://web.gc.cuny.edu/rcmi CONTENTS Introduction 1 Program of the conference 4 Concerts Iberian Piano Music and Its Influences 12 An Evening of Victorian Parlour Music 16 Abstracts of papers 23 Participants 41 Research Center for Music Iconography 45 Guidelines for authors 46 CONFERENCE VENUES Baisley Powell Elebash Recital Hall & Conference Room 9.204 The City University of New York, The Graduate Center, 365 Fifth Avenue Uris Auditorium The Metropolitan Museum of Art, 1000 Fifth Avenue Austrian Cultural Forum 11 East 52nd Street Proceedings of the conference will be published in forthcoming issues of the journal Music in Art. ********************************************************************************* Program edited and conference organized by ZDRAVKO BLAŽEKOVIĆ THE RESEARCH CENTER FOR MUSIC ICONOGRAPHY The Barry S. Brook Center for Music Research and Documentation The City University of New York, The Graduate Center 365 Fifth Avenue New York, NY 10016-4309 Tel. 212-817-1992 Fax 212-817-1569 eMail [email protected] © The Research Center for Music Iconography 2003 The contents was closed on 21 September 2003 MUSIC IN ART: ICONOGRAPHY AS A SOURCE FOR MUSIC HISTORY After its founding in 1972, the Research Center for Music Iconography used to annually organize conferences on music iconography. The discipline was still young, and on the programs of these meetings – cosponsored by the Répertoire International d’Iconographie Musicale and held several times under the auspices of the Greater New York Chapter of the American Musicological Society – there were never more than a dozen papers.