DATING the ICELANDIC SAGAS by Einar Ol
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The Grettis Saga Through Time and Space: an Exploration of Topics in Old Norse Sagas
Academic Journal 157 of Modern Kornelia Lasota Philology University of Silesia in Katowice ISSN 2353–3218 The Grettis Saga through Time and Space: An Vol. 10 (2020) s. 157–162 Exploration of Topics in Old Norse Sagas. Abstract The paper provides a brief summary of the Old NorseGrettis Saga and examines it in terms of research aspects outside of the field of literary studies. It highlights the historical, cultural, social, and religious contexts of the work, giving explanation as to where indications of them can be found in the saga. At the same time it tries to explain some of the more obscure aspects, such as the supernatural elements, in order to give clarity to the method of interpretation. Vital information on the grouping of Old Norse sagas, as well as the importance of ancestry in the texts, are provided and elaborated. Definitions of key terms essential to understand the source material are provided and kept on a level clear to a reader not fluent in the topic. Categorizations of the mentioned saga genre are also provided, with the hope to spark interest in the vast variety of motifs and key aspects of the Old Norse sagas. Further suggestions for research outside of the field are presented; however, they are not taken up completely. The paper shows the Old Norse sagas as potent, yet often overlooked, literary works worthy of attention as possible research material in the field of humanities. Keywords: Old Norse saga, Grettis Saga, literature, medieval studies, sagas of the Icelanders The aim of the following paper is to present the Old NorseGrettis Saga highlighting some of the many aspects in which the text can be useful in research, even outside of purely literary theses. -
Stefan Arnason's Lineage on His Father's Side
Stefan Arnason’s lineage on his father’s side This is an edited and translated version of a lineage that Judith Fulford (née Arnason) got from the Íslendingabók (see glossary below). I’ve also combine this with information found in the Book of Settlements, the Sturlunga and Njall Sagas, and information on Geni. Please let me know if you spot any errors or other issues. (Jon) The idea was to take Stefan Arnason’s direct patrilineal line back as far as it would go –– a line of fathers and sons with the names highlighted in red. I’ve also added dates of key events in Iceland’s history to try to put some of these lives into the context of the times they lived in. 1 Stefan Arnason (1882 – 1956) Born: August 6, 1882. Died: December 17, 1956. Husband of Gudrun Sigurbjorg Arnason. In 1904 Stefan emigrated to Canada Father of Olof Gudrun Steeves, Einar Arni Arnason, Herman Arnason, Marvin Skafti Arnason, Katrin Margret Morgan, Valgier Snorri Arnason, Evelyn Ingibjorg Arnason, Mildred Lillian Hooke, Stephan Arnason, Anna Sigridur McLeod, Helen Donovan and Norman Gisli Arnason 2 Árni Jónatansson (1840 – 1921) Born: May 21, 1840 at Reykjadal. Died: January 19, 1921, Farmer at Þríhyrningi 1885–98 and Auðbrekku 1883–5 & from 1898 on. Husband of Gudrun Jonsdottir Father of Stefan Arnason, Valgier Sigurjon Arnason, Sigurbjorg Arnadottir, Gudrun Arnadottir, Hildur Sigrun Arnadottir, Jonaton Arnason, Anna Steinunn Arnadottir, Svanfridur Arnadottir, Snorri Jonsson Arnason, Hilmar Arnason, Sigrun Arnadottir and Ingolfur Arnason Note: This is the ancestor the surname Arnason was derived from. 3 Jónatan Eiríksson (1817 – 1879) Born: August 10, 1817 at Skriðulandi at Aðaldal, Died: May 17, 1879 at Sámstöðum at Öngulstaðahreppi Farmer at Bergsstöðum at Aðaldal. -
The Role of the Dead in Medieval Iceland: a Case Study of Eyrbyggja Saga1
CM 2011 ombrukket7_CM 22.03.12 12:50 Side 23 The Role of the Dead in Medieval Iceland: A Case Study of Eyrbyggja saga1 kIRSI kANERVA The article concerns the ghost story of Eyrbyggja saga, the so-called ‘wonders of fróðá’ (fróðárundr), and examines the symbolic meanings of this episode as they were interpreted in medieval Iceland. The analysis presupposes that, although the restless dead could be understood as ‘real’ by medieval readers and as part of their social reality, the heterogenic nature of the audience and the learning of the writers of the sagas made possible various interpretations of the ghost-scene, both literal and symbolic. It is argued that the living dead in Eyrbyggja saga act as agents of order, whose restlessness is connected to past deeds of those still living that have caused social disequilibrium. In fróðárundr these actions involve expressions of disapproved sexuality and birth of offspring with indeterminate social status. for the ghost-banisher the hauntings represent an opportunity to improve his own indeterminate status. In this article I intend to discuss the role of the malevolent restless dead in medieval Iceland by making a case study of the so-called wonders of fróðá, the Fróðárundr episode in Eyrbyggja saga. In general, for the living such creatures seem to be a source of various forms of malice and fear. They can make people lose their minds, become ill or even die. Their strength often exceeds that of the living, but it is not limitless, and is always ultimately challenged and conquered by the hero, who with great strength and skill banishes the monster for good. -
Three Icelandic Outlaw Sagas
THREE ICELANDIC OUTLAW SAGAS THREE ICELANDIC OUTLAW SAGAS THE SAGA OF GISLI THE SAGA OF GRETTIR THE SAGA OF HORD VIKING SOCIETY FOR NORTHERN RESEARCH UNIVERSITY COLLEGE LONDON 2004 Selection, introduction and other critical apparatus © J. M. Dent 2001 Translation of The Saga of Grettir and The Saga of Hord © J. M. Dent 2001 Translation of The Saga of Gisli © J. M. Dent 1963 This edition first published by Everyman Paperbacks in 2001 Reissued by Viking Society for Northern Research in 2004 Reprinted with minor corrections in 2014 ISBN 978 0 903521 66 6 The maps are based on those in various volumes of Íslensk fornrit. The cover illustration is of Grettir Ásmundarson from AM 426 fol., a late seventeenth-century Icelandic manuscript in Stofnun Árna Magnússonar á Íslandi, Reykjavík Printed by Short Run Press Limited, Exeter CONTENTS Preface ............................................................................................ vii Chronology .................................................................................... viii Introduction ..................................................................................... xi Note on the Text .......................................................................... xxvi THE SAGA OF GISLI ..................................................................... 1 THE SAGA OF GRETTIR ............................................................. 69 THE SAGA OF HORD ................................................................ 265 Text Summaries ........................................................................... -
Speech Acts and Violence in the Sagas*
FREDERIC AMORY Speech Acts and Violence in the Sagas* “Tunga er hçfuôs bani” (“The tongue is the death of the head”) Old Icelandic proverb The American sociolinguist William Labov, who has been collecting and studying anecdotal narratives of street life among gangs of black youths in Harlem and the Philadelphia slums, also published a short paper (Labov, 1981) on the interaction of verbal behavior and violence in the experiences of white informants of his from other areas. As I have pointed out once before (Amory, 1980), but without denting the surface of Old Norse narrato- logy,1 both the materials and the methods of Labov are highly relevant to the Icelandic sagas and their folk narratives. In this paper Labov has addressed himself to the very contemporary social problem of “senseless violence” in American life, in the hopes of pinning down wherever he can some of the verbal clues to its psychological causes in the story-telling of his white informants - above all, in any of the spoken words between them and their assailants that might have led to blows. Such an approach to violent actions through narrative and dialogue would miss of its mark were the words that led to blows not “loaded”, i.e., possessed of the social or psychological force to make certain things happen under appropriate conditions. Words that “do things” this way are in the category of speech acts,2 and Labov’s paper draws * This paper, of which a lecture version was read to various university audiences in Scandinavia, Germany, and Switzerland during the first three months of 1989, has benefited by many comments and criticisms from fellow Scandinavianists such as John Lindow, Robert Cook, Anne Heinrichs, Donald Tuckwiller, John E. -
History Or Fiction? Truth-Claims and Defensive Narrators in Icelandic Romance-Sagas
History or fiction? Truth-claims and defensive narrators in Icelandic romance-sagas RALPH O’CONNOR University of Aberdeen Straining the bounds of credibility was an activity in which many mediaeval Icelandic saga-authors indulged. In §25 of Göngu-Hrólfs saga, the hero Hrólfr Sturlaugsson wakes up from an enchanted sleep in the back of beyond to find both his feet missing. Somehow he manages to scramble up onto his horse and find his way back to civilisation – in fact, to the very castle where his feet have been secretly preserved by his bride-to-be. Also staying in that castle is a dwarf who happens to be the best healer in the North.1 Hann mælti: ‘… skaltu nú leggjast niðr við eldinn ok baka stúfana.’ Hrólfr gerði svâ; smurði hann þá smyrslunum í sárin, ok setti við fætrna, ok batt við spelkur, ok lèt Hrólf svâ liggja þrjár nætr. Leysti þá af umbönd, ok bað Hrólf upp standa ok reyna sik. Hrólfr gerði svâ; voru honum fætrnir þá svâ hægir ok mjúkir, sem hann hefði á þeim aldri sár verit. ‘He said, … “Now you must lie down by the fire and warm the stumps”. ‘Hrólfr did so. Then he [the dwarf] applied the ointment to the wounds, placed the feet against them, bound them with splints and made Hrólfr lie like that for three nights. Then he removed the bandages and told Hrólfr to stand up and test his strength. Hrólfr did so; his feet were then as efficient and nimble as if they had never been damaged.’2 This is rather hard to believe – but our scepticism has been anticipated by the saga-author. -
Icelandic Folklore
i ICELANDIC FOLKLORE AND THE CULTURAL MEMORY OF RELIGIOUS CHANGE ii BORDERLINES approaches,Borderlines methodologies,welcomes monographs or theories and from edited the socialcollections sciences, that, health while studies, firmly androoted the in late antique, medieval, and early modern periods, are “edgy” and may introduce sciences. Typically, volumes are theoretically aware whilst introducing novel approaches to topics of key interest to scholars of the pre-modern past. iii ICELANDIC FOLKLORE AND THE CULTURAL MEMORY OF RELIGIOUS CHANGE by ERIC SHANE BRYAN iv We have all forgotten our names. — G. K. Chesterton Commons licence CC-BY-NC-ND 4.0. This work is licensed under Creative British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. © 2021, Arc Humanities Press, Leeds The author asserts their moral right to be identi�ied as the author of this work. Permission to use brief excerpts from this work in scholarly and educational works is hereby granted determinedprovided that to thebe “fair source use” is under acknowledged. Section 107 Any of theuse U.S.of material Copyright in Act this September work that 2010 is an Page exception 2 or that or limitation covered by Article 5 of the European Union’s Copyright Directive (2001/ 29/ EC) or would be 94– 553) does not require the Publisher’s permission. satis�ies the conditions speci�ied in Section 108 of the U.S. Copyright Act (17 USC §108, as revised by P.L. ISBN (HB): 9781641893756 ISBN (PB): 9781641894654 eISBN (PDF): 9781641893763 www.arc- humanities.org print-on-demand technology. -
The Development of Education and Grammatica in Medieval Iceland
The Development of Education and Grammatica in Medieval Iceland By Ryder Patzuk-Russell A Thesis submitted to the University of Birmingham for the degree of Doctor of Medieval History Department of History School of History and Cultures College of Arts and Law University of Birmingham November 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This study explores how education and the medieval intellectual and pedagogical discipline of grammatica developed in Iceland during the medieval period, defined roughly from the official conversion to Christianity c.1000 to the Reformation c.1550. The first chapter deals with social, institutional, and financial aspects of teaching and learning in medieval Iceland, surveying key figures and places, but also arguing that more attention should be paid to the costs of learning and the effect of that on poor students. The second chapter addresses Latin education, discussing the importance of Latinity in medieval Iceland and the types of education that would involve Latin. It also addresses the idea of bilingual education and suggests ways in which extant vernacular writings can provide evidence for how Latin was taught and learned using the vernacular, using the model of Old English bilingual education. -
Snorri Sturluson: His Life and Work
Snorri Sturluson: his life and work Snorri Sturluson is the first major writer of Old Icelandic prose from whom we have a large body of extant writing, including some poetry, and whose life is, in outline, well documented. Unlike most earlier writers of prose, he was not a cleric, but an aristocratic layman, and nearly all he wrote is on secular topics. The main sources for his life besides annals are the nearly contemporary Íslendinga saga and the saga of Hákon Hákonarson (king of Norway 1217–1263), both by Snorri’s nephew Sturla Þórðarson; and the sagas of Guðmundr Arason (bishop at Hólar in northern Iceland 1203– 1237). Snorri was born in western Iceland in 1178 or 1179, son of the powerful chieftain Hvamms-Sturla whose family gave their name to the turbulent period of Icelandic history leading up to the loss of political independence in 1262–1264, the Age of the Sturlungs, which was also the great age of Icelandic saga-writing. When he was three (his father died in 1183) Snorri was sent to be fostered (i.e. educated) at Oddi in southern Iceland, with the chieftain Jón Loptsson (died 1197), grandson of the historian (writing in Latin) and priest Sæmundr fróði (the Learned). Jón himself was a deacon, but was prominent in the resistance of secular leaders to the extension of Church power in the later twelfth century. Many have thought that there must have been some sort of school at Oddi, but at that period in Iceland as elsewhere in Europe, most formal education took place in monasteries and cathedrals, and was based on training in Latin and preparation of pupils for ordination as priests. -
Basic Color Terms in Old Norse- Icelandic: a Quantitative Study
Kirsten Wolf Basic Color Terms in Old Norse- Icelandic: A Quantitative Study 1 Introduction In 1969, Brent Berlin and Paul Kay published their analysis of color terms in close to one hundred of the world’s languages, arguing that there was a universal inventory of eleven basic color terms, located in the color space where English speakers place the most typical exam- ples of black, white, red, orange, yellow, brown, green, blue, purple, pink, and grey. Comparing the vocabularies of languages possessing fewer than these eleven color terms, they maintained that basic color terms do not appear haphazardly in the diachronic development of a language, but that a language adds basic color terms in a particular order, which is interpreted as an evolutionary sequence: Stage I: black, white Stage II: black, white, red Stage IIIa: black, white, red, green Stage IIIb: black white, red, yellow Stage IV: black, white, red, yellow, green Stage V: black, white, red, yellow, green, blue Stage VI: black, white, red, yellow, green, blue, brown Stage VII: black, white, red, green, yellow, blue, brown, purple, pink, orange, grey. Since the publication of Berlin and Kay’s study, there has been some elaboration and criticism of their conclusions, and in response to these, the two linguist-anthropologists have modifi ed them. In 1975, Orð og tunga 15 (2013), 141–161. © Stofnun Árna Magnússonar í íslenskum fræðum, Reykjavík. ttunga_15.indbunga_15.indb 141141 116.4.20136.4.2013 111:58:501:58:50 142 Orð og tunga Brent Berlin and Elois Ann Berlin introduced a light-warm versus dark-cool stage instead of the earlier categorization based on bright- ness contrast. -
Individuals, Communities, and Peacemaking in the Íslendingasögur
(Not) Everything Ends in Tears: Individuals, Communities, and Peacemaking in the Íslendingasögur by Kyle Hughes, B.A., M.Phil PhD Diss. School of English Trinity College Dublin Supervisor: Dr. Helen Conrad O'Briain Submitted to Trinity College Dublin, the University of Dublin March 2017 Declaration I declare that this thesis has not been submitted as an exercise for a degree at this or any other university and it is entirely my own work. I agree to deposit this thesis in the University’s open access institutional repository or allow the Library to do so on my behalf, subject to Irish Copyright Legislation and Trinity College Library conditions of use and acknowledgement. Name_____________________________________________ Date_____________________________________________ i Summary The íslendingasögur, or Icelandic family sagas, represent a deeply introspective cultural endeavour, the exploration of a nation of strong-willed, independent, and occasionally destructive men and women as they attempted to navigate their complex society in the face of uncertainty and hardship. In a society initially devoid of central authority, the Commonwealth's ability to not only survive, but adapt over nearly four centuries, fascinated the sagamen and their audiences as much as it fascinates scholars and readers today. Focused on feud, its utility in preserving overall order balanced against its destructive potential, the íslendingasögur raise and explore difficult questions regarding the relationship between individual and community, and of power and compromise. This study begins by considering the realities of law and arbitration within the independent Commonwealth, in the context of the intense competitive pressure among goðar and large farmers both during the Commonwealth period and in the early days of Norwegian rule. -
On the Receiving End the Role of Scholarship, Memory, and Genre in Constructing Ljósvetninga Saga
On the Receiving End The Role of Scholarship, Memory, and Genre in Constructing Ljósvetninga saga Yoav Tirosh Dissertation towards the degree of Doctor of Philosophy University of Iceland School of Humanities Faculty of Icelandic and Comparative Cultural Studies October 2019 Íslensku- og menningardeild Háskóla Íslands hefur metið ritgerð þessa hæfa til varnar við doktorspróf í íslenskum bókmenntum Reykjavík, 21. ágúst 2019 Torfi Tulinius deildarforseti The Faculty of Icelandic and Comparative Cultural Studies at the University of Iceland has declared this dissertation eligible for a defence leading to a Ph.D. degree in Icelandic Literature Doctoral Committee: Ármann Jakobsson, supervisor Pernille Hermann Svanhildur Óskarsdóttir On the Receiving End © Yoav Tirosh Reykjavik 2019 Dissertation for a doctoral degree at the University of Iceland. All rights reserved. No part of this publication may be reproduced in any form without written permission of the author. ISBN 978-9935-9491-2-7 Printing: Háskólaprent Contents Abstract v Útdráttur vii Acknowledgements ix Prologue: Lentils and Lenses—Intent, Audience, and Genre 1 1. Introduction 5 1.1 Ljósvetninga saga’s Plot in the A-redaction and C-redaction 6 1.2 How to Approach Ljósvetninga saga 8 1.2.1 How to Approach This Thesis 9 1.2.2 Material Philology 13 1.2.3 Authorship and Intentionality 16 1.3 The Manuscripts 20 1.3.1 AM 561 4to 21 1.3.2 AM 162 C fol. 26 2. The Part About the Critics 51 2.1 The Debate on Ljósvetninga saga’s Origins in Nineteenth- and Twentieth- Century Scholarship 52 2.1.1 Early Discussion of Ljósvetninga saga: A Compilation of Loosely Connected Episodes 52 2.1.2 Þáttr theory 54 2.1.3 Freeprose and Ljósvetninga saga as a “Unique” Example of Oral Variance: The Primacy of the C-redaction 57 2.1.4 Bookprose and Ljósvetninga saga as a Misrepresented and Authored Text: The Primacy of the A-redaction 62 2.1.5 The Oral vs.