Artykuły w czasopismach na temat „Mythology of Scandinavia”
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Gilmore, Amanda. "Trees as a Central Theme in Norse Mythology and Culture: An Archaeological Perspective". Scandinavian-Canadian Studies 23 (1.12.2016): 16–26. http://dx.doi.org/10.29173/scancan117.
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ABSTRACT: This article, the inaugural winner of the journal’s Gurli Aagaard Woods Undergraduate Publication Award, combines the analysis of ancient literature with an archaeological approach in an effort to further interpret the presence and significance of trees in medieval Scandinavian culture. The analysis of textual references to trees such as Yggdrasill and Barnstokkr found in the Norse works Völuspá, Grímnismál, Gylfaginning, and Völsunga Saga, are combined with academic articles, juxtaposed with the examination of archaeological sites at Fröso, Herresta, Bjarsgård, Österfärnebo, and Karmøy, and integrated with modern Scandinavian attitudes to explore an interest in tree-human relationships, literature, and archaeology in medieval Scandinavia.
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Knutson, Sara Ann. "The Materiality of Myth". Temenos - Nordic Journal of Comparative Religion 55, nr 1 (29.06.2019): 29–53. http://dx.doi.org/10.33356/temenos.83424.
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The vivid presence of material objects in Scandinavian cosmology, as preserved in the Old Norse myths, carries underexplored traces of belief systems and the material experience of Iron Age Scandinavia (400–1000 CE). This paper proposes an archaeological reading of Norse mythology to help explain how ancient Scandinavians understood the presence and role of deities, magic, and the supernatural in everyday life. The Norse myths retain records of material objects that reinforced Scandinavian oral traditions and gave their stories power, memory, and influence. From Thor’s hammer and Freyja’s feathered cloak to Sigyn’s bowl and Ran’s net, such materials and the stories they colour are informed by everyday objects of Iron Age life – spun with the magic, belief, and narrative traditions that made them icons. The mythic objects promoted a belief system that expected and embraced the imperfections of objects, much like deities. These imperfections in the divine Norse objects and the ways in which the gods interact with their materials are part and parcel of the Scandinavian religious mentality and collective social reality. This work ultimately questions the relationship between materiality and myth, and seeks to nuance our current understandings of the ancient Scandinavian worldview based on the available textual evidence.
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Taggart, Declan. "Do Thor and Odin Have Bodies? Superperception and Divine Intervention among the Old Norse Gods". Religions 10, nr 8 (6.08.2019): 468. http://dx.doi.org/10.3390/rel10080468.
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In Old Norse mythology, gods like Freyja, Odin, and Thor are usually characterized as human-like creatures: they walk and ride animals, eat, grow old, and even die. Was there more to conceptions of Old Norse gods than those anthropomorphic representations? This article presents evidence that the gods of early Scandinavia were sometimes thought of as superperceiving and able to act in ways that defied the limitations of a physical body. It engages with and challenges theological correctness, a prominent theory in the Cognitive Science of Religion, to elucidate the sources of Old Norse religion and the cognitive and contextual foundations of the representations of gods encountered there. Following an examination of the mechanisms through which Old Norse gods’ superperception and disembodied action were narrativized and rationalized, the article concludes with a discussion of the consequences of non-anthropomorphic representations of the gods for understanding Scandinavian worshippers’ everyday religious life.
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Toplak, Matthias. "The Warrior and the Cat: A Re-Evaluation of the Roles of Domestic Cats in Viking Age Scandinavia". Current Swedish Archaeology 27, nr 27 (11.03.2019): 213–45. http://dx.doi.org/10.37718/csa.2019.10.
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The role of cats in Viking Age society is little investigated and has been dominated by uncritical adoptions of medieval mythology. Based on literary sources, the domestic cat is often linked to cultic spheres of female sorcery. Yet the archaeological evidence indicates an ambivalent situation. Cat bones from many trading centres show cut marks from skinning and highlight the value of cat fur. In contrast, the occurrence of cats in male burials points rather to a function as exotic and prestigious pets. The influence of Old Norse mythology on the traditional interpretation of cats as cultic companions therefore needs critical reconsideration. For this, a broad range of literary and historical sources – from Old Norse literature to Old Irish law texts – will be analysed and confronted with the archaeological evidence for domestic cats in Viking Age Scandinavia. The results will be discussed on a broader theoretical approach, involving concepts such as agency, and embedded in current research on human-animal-relations in order to achieve a more nuanced perspective on the roles and functions of cats in day-to-day reality as well as in the burial context.
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Back Danielsson, Lng-Marie. "Engendering Performance in the Late Iron Age". Current Swedish Archaeology 7, nr 1 (10.06.2021): 7–20. http://dx.doi.org/10.37718/csa.1999.01.
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This paper deals with humanoid figures on gold foils from the Late Iron Age in Scandinavia. Interpreted as figures wearing masks, an effort is made to show the complexity, importance and significance of masking practices. The single Bornholm figures from the 6th century are interpreted as shamans performing rituals. Further, it is proposed that a restriction of masked appearances and performances to certain people (shamans) and places in the long run created stricter and more rigid gender roles in everyday life. The later gold-foil couples are seen as signs of divine communication, cosmological movement and seasonality, making up a mythology that legitimised political domination —the sacred lineage of rulers pivoting around an apical, ancestral cross-sex pair.
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Kukhta, Victoriia. "The Figure of the Scandinavian Leader as an Example of Mutual Reflection of Mythological Ideas and Reality in the Early Middle Ages". Ethnic History of European Nations, nr 71 (2023): 16–23. http://dx.doi.org/10.17721/2518-1270.2023.71.02.
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The article focuses on the image of the Scandinavian leader, on whom the well-being of the population depended. New methodological approaches made it possible to consider the problem of the sacred status of power from a new point of view, in particular, through the interpretation of the image of the ruler and his perception by society and the features of the formation and functioning of rituals and connections between the ruler and higher powers. Modern research within the framework of Scandinavian studies is increasingly raising questions of scientific interest in aspects of the spiritual, religious and everyday life of the medieval society of Scandinavia. Conducting research in this area can help modern researchers to understand better the mentality of the people of that time. One of the important issues is the problem of a special, sacred or sacralized image of the ruler-leader, who becomes the central figure in the Scandinavian society of the medieval era and plays an important role in ensuring its protection and well-being. The problem of the special status of the ruler caused little enthusiasm among the researchers of the past. Previous studies have addressed the problem of studying the place and role of the leader mainly as a political figure, and also considered the formation of the origins of the sacralization of power in the context of religious beliefs. However, none of the studies focused on the image of the Scandinavian leader as a reflection of mythological ideas in the material world and vice versa. The sacred functions of the ruler are usually considered as a consequence of the development of mythological ideas and are presented in the works separately from them. The proposed article attempts to fill the gap in the question of the difference between the sacralization of the power of the ruler among the Scandinavian peoples and trace the reflection and mutual influence of mythology and everyday life through an analysis of the specifics of the mythological worldview and its manifestation in the formation of a stereotype of power in medieval Scandinavian society.
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Miloiu, Silviu-Marian. "Editorial Foreword". Vikings: New Inquiries into an Age-Old Theme 9, nr 2 (15.12.2017): 5–6. http://dx.doi.org/10.53604/rjbns.v9i2_1.
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After several decades wherein the Viking studies seemed to allow little ground for new discoveries the past decades have shown the tremendous research potential they still offer to scholars. Gradually, the classical image of Viking warlords which permeated the historical writing starting already with – and often based on – the medieval chronicles has been nuanced and other hypostases of the Norseman have been discussed: the Viking as a trader, explorer, state crafter, etc. New study programmes of Viking studies have been established at universities in Scandinavia, but also in Britain, United States and Western Europe. Fresh historical sources have been discovered and old sources have been reinterpreted. In correlation with ethnographical studies, recent archaeological excavations and new insights into mythology, they greatly expanded our knowledge of the Viking Age and its continental and global role.
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Gorlée, Dinda L. "Intersemioticity and intertextuality: Picaresque and romance in opera". Sign Systems Studies 44, nr 4 (31.12.2016): 587–622. http://dx.doi.org/10.12697/sss.2016.44.4.06.
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Jakobson introduced the concept of intersemioticity as transmutation of verbal signs by nonverbal sign systems (1959). Intersemioticity generates the linguistic-and- cultural elements of intersemiosis (from without), crystallizing mythology and archetypal symbolism, and intertextuality (from within), analyzing the human emotions in the cultural situation of language-and-music aspects. The operatic example of Ibsen’s Peer Gynt (1867) intertextualized the cultural trends of Scandinavia. This literary script was set to music by Grieg to make an operatic expression. After the “picaresque” adventures, Peer Gynt ends in a “romantic” revelation. Grieg’s music reworded and rephrased the script in musical verse and rhythm, following the intertextuality of Nordic folk music and Wagner’s fashionable operas. Ibsen’s Peer Gynt text has since been translated in Jakobson’s “translation proper” to other languages. After 150 years, the vocal translation of the operatic text needs the “intersemiotic translation or transmutation” to modernize the translated text and attract present-day audiences.
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Larsson, Lars. "Ritual Structures in South Scandinavian Prehistory". Proceedings of the Prehistoric Society 74 (2008): 193–214. http://dx.doi.org/10.1017/s0079497x00000189.
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An increasing number of buildings are coming to light on prehistoric sites in Scandinavia that seem to be related to ritual, cult, or religious activities. This paper documents examples of such buildings from the Mesolithic to the Viking Period. The Late Meolithic cemetery at Skateholm provides evidence for structures associated with materials only otherwise found in grave contexts. Certain aspects of Early Neolithic long barrows and palisaded enclosures may infer ritual practices not directly of a funerary nature. The later Neolithic was marked in the cultural groupings of various regions by the construction of palisaded enclosures, wooden structures associated with graves, or pile dwellings, each often associated with a rich finds assemblage and frequent evidence for burning. These structures and their contents show obvious distinctions from the contemporary domestic settlement and burial sites with which they were associated. Bronze Age examples include rectangular stone walled and D- and C-shaped wooden structures placed beside burial areas and facing cairns. The latter forms continue into the Iron Age, for which few other clear examples of ritual structures are apparent, in spite of historical references. Those that have been identified seem to be associated with important central places. The site of Uppåkra, in southernmost Sweden, has produced an unusual small building set beside a hall around and within which were deposited hundreds of weapons and gold and glass objects. This relationship bears a striking resemblance to the description of the hall of Wodan at Valhalla in Norse mythology.
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Pohl, Walter. "Narratives of Origin and Migration in Early Medieval Europe". Medieval History Journal 21, nr 2 (24.07.2018): 192–221. http://dx.doi.org/10.1177/0971945818775460.
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This contribution concentrates on the origin narratives of the post-Roman peoples and kingdoms in Latin Europe between c. 500 and 1000, including some observations on the elaborate production of origin stories in the later Middle Ages. It thus addresses a period in which a durable multiplicity of polities with ethnic designations emerged in Europe and was anchored in the mental maps of (at least) the political elites through a set of foundational narratives. Most of these new peoples—Goths, Longobards, Franks, Anglo-Saxons and others—prided themselves in their distant origins, be it from Scandinavia or Troy. Their origin narratives are based on a common stock of mythical points of reference, developed in classical mythology and ethnography and complemented by other motifs and memories. Christianity transformed the frame but not necessarily the elements of the narrative. The wide-ranging comparison to other ethnic and tribal origin stories, as exemplified in this issue, sheds better light on the specificities of the Latin European tradition of ‘origines gentium’, the origins of peoples. The result is that we should look at these texts as essentially hybrid products of cultural encounters in which formerly subaltern peoples developed new identities as a ruling minority in former Roman provinces.
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Stelnik, Evgeny V. "From Ideology to Methodology: The Term “Charon’s Obol” in Modern Archaeological Discourse". Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, nr 2 (2021): 75–85. http://dx.doi.org/10.15826/izv2.2021.23.2.026.
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This article deals with the paradoxical situation associated with the use of the term “Charon’s obol” in modern archaeological discourse. The term “Charon’s obol” turned into an unspoken normative historiographical rule and an “indisputable” explanatory model. At the same time, the term itself is essentially “empty”, and does not need to be argued, being the evidence arising from the “natural” logic of archaeological research. Archaeological discourse turns the discovery of “Charon’s obol” into a “natural” inevitability. Almost any coin (of any material and value) of ancient and early Middle Ages found in Europe, Scandinavia, the Far East, or Central Asia, is usually declared “Charon’s obol” by researchers. Surprisingly, the further the region is located from the ancient Greek poleis, the more coins dedicated to Charon archaeologists find. Moreover, in historiography, Charon has become an unambiguous symbol not only of ancient Greek book mythology, but also of the entire ancient Greek culture. The paradox of the situation is that Charon, the ideas of the researchers about whom constitute the content of the term, did not need coins, and the “ancient Greek funeral rite” which the authors appeal to as a model of “payment to Charon” did not imply any payments to Charon. The term is a result of uncritical reading of ancient classical literature. The term “Charon’s obol” cannot be filled with content, but is an artificial ideological construction related to the research tradition based on the ideas of European Romanticism (concepts of I. I. Winkelman and I. V. Goethe).
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Haarder, Andreas. "Det umuliges kunst". Grundtvig-Studier 37, nr 1 (1.01.1985): 87–89. http://dx.doi.org/10.7146/grs.v37i1.15945.
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The Art of the ImpossibleA Grundtvig Anthology. Selections from the writings of N. F. S. Grundtvig.Translated by Edward Broadbridge and Niels Lyhne Jensen.General Editor: Niels Lyhne Jensen. James Clarke, Cambridge & Centrum, Viby 1984.Reviewed by Professor Andreas Haarder, Odense UniversityHow can Grundtvig ever be translated? Professor Haarder considers it well-nigh impossible, which does not mean, however, that the attempt is not worth making. But he has some criticism of various things which need correcting for a later edition. In particular the translation of the words folkeh.jskole and Norden and the use of different terms for the same concept. He would prefer “folk high school” and “the North”, “Nordic” or “Norse”, and he thinks that the word “Scandinavia” should be avoided. The reason is that it is difficult to understand what a folk high school actually is, and that the Nordic past for Grundtvig included the English. The term “folk high school” is used elsewhere, for example in the Danish Institute’s book on Grundtvig. Professor Haarder praises the idea and the planning of the book, but he also notes too many printing errors and deficiencies in the notes.In Haarder’s opinion the most successful translations are of the sermons and the simplest songs. The selection from Norse Mythology reads well in English, which surprises him somewhat because of Grundtvig’s very intricate style. Some of that inspiration is missing from The School for Life, in both the original and the translation, but the text is pioneer work and worth including. As “a particular type of prose” he finds the extracts from Elementary Christian Teachings also readable in English. With regard to the poetry, he agrees with the editor that “It has not been Grundtvig’s good fortune to find a translator who combines a grasp of his vision with a gift of imagery matching his.” Andreas Haarder ends with a word of thanks for the step that has been taken with this anthology of Grundtvig in English.
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Ушницкий, Василий Васильевич. "THE EAGLE TOTEM IN THE MYTHOLOGICAL REPRESENTATIONS OF THE SAKHA AND BURYATS". Tomsk Journal of Linguistics and Anthropology, nr 2(32) (14.10.2021): 161–70. http://dx.doi.org/10.23951/2307-6119-2021-2-161-170.
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В статье ставится проблема культа орла в мифологических представлениях саха и бурят. Целью статьи является установление связи тотема культа с социальной организацией общества, наличие единого тотема свидетельствует о племенной организации общества. Задачами статьи можно считать изучение сведений о почитании орла в якутской и бурятской мифоритуальной культуре. Актуальность статьи проявляется в том, что сведения о архаичном тотемном культе сопоставляются с современными обрядами и фольклорными текстами. Изучение тотемных верований относится к исследованию дорелигиозного состояния общества. Новизной статьи можно считать использование методов исследований зарубежных антропологов в изучении тотемных верований. Метод исследования сравнительно-сопоставительный. Материалы и результаты. Представления народа саха об орле (солнце-творец-возродитель природы, приноситель огня, орел и космическое яйцо, орел и шаманство, орел и мировое дерево относятся к общечеловеческим. Анализ верований, связанных с Орлом, уводит в Скандинавию и в религиозные культы Древнего Египта, показывая общность мифологических представлений. В религиозных верованиях саха Орел занимает ключевое положение. Культ орла связан с хангаласским родом, однако по материалам Г. Ф. Миллера его считали своим покровителем хоринцы и батулинцы. Более того, в фольклорных текстах, сопоставляются термины хоро и Хотой — орел. В бурятском фольклоре, Орел является хозяином Ольхона и тотемной птицей племени эхиритов Верхней Лены, в старину он был почитаемым птицей у хоринцев. Тотемные верования относятся к древнейшим культам, они характерны для обществ, не приступивших к созданию собственной государственности, первобытно-родовой общины. Первобытные рода верили в свое происхождение от почитаемой птицы, олицетворяли себя с ним. Выводы. Общность культа орла у бурят и саха показывает общность предков, происходящих от единого хори-батулинского племени. Орел как тотемное животное занимал ключевое положение в якутском и бурятском шаманизме, что свидетельствует о архаичности их религиозных верований. The article studies the eagle totem in Yakut and Buryat mythology. The aim of the article is to establish the connection of the totem cult with the social organization of society, the presence of a single totem indicates the tribal organization of society. The objectives of the article can be considered the study of information about the veneration of the eagle in the Yakut and Buryat mythological culture. The relevance of the article is shown in the fact that the information about the archaic totemic cult is compared with modern rites and folklore texts. The study of totemic beliefs refers to the study of the pre-religious state of society. The novelty of the article is the use of research methods of foreign anthropologists in the study of the totemic beliefs of the Sakha. The research method is comparative. The materials and results. The ideas of the Sakha people about the eagle (the sun — the creator — the regenerator of nature, the bringer of fire, the eagle and the cosmic egg, the eagle and shamanism, the eagle and the world tree) are universal. Mythological ideas associated with the Eagle and the Sun is universal and goes back to the deepest antiquity. Interesting parallels with the Yakut and Buryat ideas are found in the mythology of the Scandinavia peoples and in the religious cults of ancient Egypt. It is showing the commonality of mythological ideas. In the Sakha religious beliefs, the Eagle occupies a key position. The cult of the eagle is associated with the Khangalas family, but according to the materials of G. F. Miller, it was considered its patron by the Khorins and Batulians. Moreover, in folklore texts, the terms horo and Hotoi — eagle are compared. In Buryat folklore the Eagle is the owner of the Olkhon and the totem bird of the Ekhirit tribe of the Upper Lena, in the old days it was a revered bird among the Khorin people. Totem beliefs belong to the oldest cults. They are characteristic of societies that have not begun to create their own state-hood, a primitive tribal community. Primitive families believed in their origin from the revered bird and personified themselves with it.
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Kuropatkina, Oksana V. "Pietism in the Scandinavian Countries and in Russia in the 19th Century: Comparative Analysis of Religious and Social Attitudes". Study of Religion, nr 2 (2019): 85–93. http://dx.doi.org/10.22250/2072-8662.2019.2.85-93.
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The article considers a brief history of Pietism and its Scandinavian and Russian forms. Special attention is paid to the emergence of the Laestadianism among the Saami that has become for them the national form of Christianity. The article compares the doctrinal and social attitudes of the Laestadians and the Shtundists, and reveals the similarities and differences in their approaches. The original features of the Scandinavian Pietists – Laestadians are indicated: primacy (with certain exceptions) of experience, and not the Bible; the idea of the power of the church as a congregation and movement; the practice of compulsory confession. The article mentions the features of the early Laestadians that are now almost never encountered: the extreme emotionality of worship and the active borrowing of Pagan mythology. Analyzing the history of Scandinavian and Russian pietism, the author comes to the following conclusions: 1) Scandinavian and Russian Pietists carried a general message to their lay followers (the need for a radical life change, a ban on alcohol, a desire to enlighten society, setting a good example for it and introducing it to their practice); 2) Laestadians were also distinguished by their practice of compulsory confession and expression accompanying their worship; 3) Laestadianism was especially successful among the Sami, actively using their mythology; 4) in relation to the official church, the Pietists took a critical, but generally loyal position; 5) the Scandinavian Pietists were considered as dissidents, sometimes dangerous, in relation to state, but they could under the protection of the authorities; Russian Shtundists criticized the authorities, but were mainly engaged in the spiritual transformation of society, as they saw it, while the authorities pursued them as “sectarians”.
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Liberman, Anatoly. "Are the Scandinavian Gods of Indo-European Heritage?" Scandinavistica Vilnensis, nr 9 (20.12.2014): 83–96. http://dx.doi.org/10.15388/scandinavisticavilnensis.2014.9.7.
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The origin of Germanic deities poses the question familiar from the study of phonemes, grammatical forms, and syntactic constructions: Indo-European heritage or local descent? Since from medieval Germania only Scandinavian mythology has come down to us, discussion centers around Othin, Thor, Týr, Baldr, etc. None of them has ascertainable roots in Indo-European, even when etymology points in that direction. Nor has George Dumézil succeeded in showing that the Indo-European and the Scandinavian pantheon, with their alleged tripartite division, are a good match, but from the nature of the case the question remains open.
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Davidsen, Ole, René Falkenberg, Anders Klostergaard Petersen i Simon Nygaard. "Anmeldelser". Religionsvidenskabeligt Tidsskrift, nr 60 (1.12.2013): 127. http://dx.doi.org/10.7146/rt.v0i60.20414.
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Anmeldelser af Bernhard Lang, Jesus - en jødisk kynikers liv og lære; Enno Edzard Popkes & Gregor Wurst, eds., Judasevangelium und Codes Tchacos; Jørgen Ledet Christiansen, Niels Hyldahl & Mogens Müller, Justins dialog med jøden Tryfon; Catharina Raudvere & Jens Peter Schjødt, eds., More than Mythology. Narratives, Ritual Practices and Regional Distribution in pre-Christian Scandinavian Religions
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Liberman, Anatoly, i John Lindow. "Murder and Vengeance among the Gods: Baldr in Scandinavian Mythology". Western Folklore 57, nr 2/3 (1998): 196. http://dx.doi.org/10.2307/1500224.
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Khusainova, Sofia. "The role of Scandinavian mythology in the formation of national identity". Конфликтология / nota bene, nr 2 (luty 2022): 15–23. http://dx.doi.org/10.7256/2454-0617.2022.2.37025.
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Special attention in this article is paid to the relationship between mythology and the modern idea of mentality. The conceptual foundations of national identity in the framework of the constructivist theory of international relations correlate with historical retrospect. The experience of assessing cultural characteristics suggests a close connection of the modern manifestation of identity with folklore, customs, histories and traditions of a certain society. The national identity of the people inhabiting the Kingdoms of Norway, Sweden and Denmark from the point of view of the soft power of states often refers to Scandinavian mythology. The role of the mythological perception of national identity helps to correctly interpret the peculiarities of the Northern mentality, contribute to building a cultural dialogue in the modern world. The main conclusion of the article is that the hermeneutical approach to the analysis of documents of Scandinavian mythology helps to understand the current trends in the development of Northern societies. The national question in the framework of constructivist theory is based on identity, which is closely related to historical retrospect, understanding the basics of which allows you to build a modern dialogue. The novelty of this study lies in the assessment of mythological cognition from the point of view of its role in the formation of the national identity of the Northern peoples. According to the constructivist theory of international relations, he argues that the modern world is built at the expense of invisible constructs, a detailed analysis of which helps to find a balance in the system of international relations.
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Dobrev, Atanas. "Loki, Thor, Odin: Norse Mythology and its Role in Nordic Noir Literature". Филологически форум, nr 19 (2024): 165–72. http://dx.doi.org/10.60056/philolf.2024.1.165-172.
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This article aims to present the relationship between Norse mythology and Scandinavian crime fiction and its important role for the development of the genre while focusing on the novel The Hurricane Party by Swedish author Klas Östergren. Through the use of certain names, the novel makes inter-textual references to the mythology of the North. The murders and destruction are a kind of allusion to the actual Fall, which, in turn, precedes the rebirth of the world. However, it seems that there will be no better world, everything will repeat itself anew. A strong social and environmental critique is observable in the novel, but at the end the faith in the individual and in their unique capacity to forgive and love is the key to surviving.
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Zharov, Boris. "Scandinavian and Dutch philology at St. Petersburg/ Leningrad University". Scandinavian Philology 21, nr 2 (2023): 395–415. http://dx.doi.org/10.21638/11701/spbu21.2023.212.
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In the 19th — early 20th centuries at St. Petersburg University, Scandinavian philology was understood as the study of Old Norse literary works, mostly in connection with the history of Russia, there was no teaching of modern languages. The first Scandinavian language, Swedish, was taught for the first time in 1935 and they began to actively study the Scandinavian languages. The Norwegian department was opened in 1945, the Danish in 1947. A great contribution to the scientific study of various aspects of Scandinavian languages was made by the scientific and organizational activities of professor M. I. Steblin-Kamensky, who published numerous works on Scandinavian linguistics, as well as on medieval literature and mythology. He initiated the creation of the country’s first department of Scandinavian philology at Leningrad University in 1958, which he headed for 30 years. The founder of Swedish linguistics was S. S. Maslova-Lashanskaya, author of the most important works. V. P. Berkov created a whole library with his works on the Norwegian language. He is recognized as one of the world’s largest lexicographers, a specialist in bilingual dictionaries. The Scandinavists who worked at the department in different years made a significant contribution to science. In 1972, the Dutch/Netherlands branch was opened, which in a short time showed great scientific potential. Professor I. M. Mikhailova, the author of numerous publications in the field of Dutch linguistics and literary criticism, is the head of the department of Scandinavian and Dutch Philology.
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Langås, Unni. "Hva kan arves? Om skyld, vold og seksualitet i to nordiske krigsminneromaner". Scandinavistica Vilnensis 17, nr 3 (31.07.2023): 405–22. http://dx.doi.org/10.15388/scandinavisticavilnensis.2023.20.
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During the last two decades, an increasing focus on perpetrators has emerged in Scandinavian literature. This so called perpetrator fiction, with an explicit intention of understanding evil, has portrayed the Nazis and their henchmen in detail. These are frequently described in familial relationships, and their stories are told from a second or third generational point of view. Interestingly, the perpetrators are regularly depicted as perverse persons and their deviant sexuality as part of the problem. In this article, I discuss two Scandinavian novels with the family as a narrative structure and the perpetrator as its main character. The novels Jeg har arvet en mørk skog (2012) by Morten Borgersen and Stormen. En berättelse (2016) by Steve Sem-Sandberg deal with wartime events seen from a present-day I-narrator’s point of view. Both novels incorporate mythology and perverse sexuality, and they ask provocative questions about the causes of wartime violence.
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Bhar, Oda. "The wondering aspect: Feminist auteur Anne Haugsgjerd". Journal of Scandinavian Cinema 10, nr 3 (1.09.2020): 287–96. http://dx.doi.org/10.1386/jsca_00032_1.
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This chronological consideration of the films of feminist auteur Anne Haugsgjerd contextualizes her oeuvre in Norwegian and Scandinavian film history. Pointing to influences such as the Belgian-Swedish filmmaker Eric M. Nilsson and the mythology of Marilyn Monroe, it is argued that her narrative voice combines vulnerability and open-mindedness. She expresses herself in a hybrid and montage-based cinematic language, often with a humorous, essayistic voice-over. Her quirky approach touches upon the absurdity of daily life, exposing her personal flaws in a manner similar to that of such younger contemporary actors/directors as Miranda July or Lena Dunham.
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Nistor, Cristina Mihaela. "Revisiting Norse Mythology: the Case of A.S. Byatt’s Ragnarök". Studia Universitatis Babeș-Bolyai Philologia 68, nr 2 (25.06.2023): 121–34. http://dx.doi.org/10.24193/subbphilo.2023.2.07.
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"Revisiting Norse Mythology: The Case of A.S. Byatt’s Ragnarök. In 2011, British author and Booker-prize winner A. S. Byatt publishes Ragnarök, her rewriting of the Norse myth about the death of the gods. Seen through the eyes of a thin child who is forced to witness the terrors of World War II, the story and characters of the Norse myth are reinterpreted and retold in accordance with the child’s vision, imagination and feelings. The paper here focuses on the association of the Scandinavian imaginary with specific moments in A. S. Byatt’s personal history, and highlights the use of certain patterns and ideas that are present in both, trying to pinpoint the elements that make possible the transformation of the mythical into the actual. The aim of this study is to explore the evolution of the mythological events as they are rewritten in Byatt’s 21st century book, in close connection with the main character’s personal development. To that end, the paper will also dwell upon the comparison drawn by Byatt herself between the Norse and the Christian mythological imaginary – a vision filtered through the eyes and thoughts of the focalizer of the text, the thin child. Keywords: Ragnarök, A. S. Byatt, reinterpretation, Norse myths, death of the gods"
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Pierce, Marc. "In Prayer and Laughter: Essays on Medieval Scandinavian and Germanic Mythology, Literature, and Culture". Scandinavian Studies 93, nr 2 (1.07.2021): 299–302. http://dx.doi.org/10.5406/scanstud.93.2.0299.
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Hines, John. "In Prayer and Laughter: Essays on Medieval Scandinavian and Germanic Mythology, Literature, and Culture". Folklore 131, nr 3 (17.02.2020): 317–18. http://dx.doi.org/10.1080/0015587x.2019.1708149.
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Bondar, Igor А. "The new Scandinavian zoomorphic amulet with runic inscription, through the lense of ancient germanic mythological system of the world". Scandinavian Philology 19, nr 1 (2021): 198–213. http://dx.doi.org/10.21638/11701/spbu21.2021.112.
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The new rhombus-shaped cast amulet of the 10th century, made in the Borre style by means of the openwork metalworking technique, is a unique example of the Scandinavian jewelry tradition. The amulet originated from the region of the middle Dniester. The amulet and graffito are unique and they have no direct known analogies. This article is devoted to the study of semiotics and semantics of a zoomorphic pendant and elements of its image. The study carried out a structural-semantic analysis of the composition and individual elements of ornament through the paradigm of cosmological and cosmogonic representations of the ancient Germans. The work used the comparative method as well as a wide range of archaeological and literary sources. The picture stones and runic stones, Hogback stones, objects of material culture of the ancient Germans, results of comprehensive archaeological research, Old Norse songs about the gods and heroes of the “Younger Edda”, a set of Scandinavian sagas, Icelandic Viking sagas about Old Rus’ and materials from written sources of the XI– XIII Centuries were examined in detail and compared. The novelty of the research lies not only in the uniqueness of the new early medieval Scandinavian amulet, but also in the comparison and study of the object through the lens of the literary heritage of German- Scandinavian mythology. This approach was first applied in the detailed study of the “Gnezdovo-type” pendants. The methodological approach of the research and the historical-typological and semantic-semiotic analysis led to a scientific interpretation of the depicted story of the amulet within the context of the ancient Germanic mythological system and cosmogony.
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Mardar, Andreea Mihaela. "Pure Northerness – William Morris and C.S. Lewis". Linguaculture 10, nr 2 (12.12.2019): 157–70. http://dx.doi.org/10.47743/lincu-2019-2-0152.
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Having seen one of Rackham’s illustrations to Siegfried and the Twilight of the Gods in his youth, C.S. Lewis became instantly attracted to “pure ‘Northernness’”, a feature he would later associate with Scandinavian literature and mythology, Wagner’s music and William Morris’ romances. In a similar manner, Morris describes his reading of the Norse sagas as a momentous experience which influenced his later writings. However, the two authors seem to have responded to different aspects of the sagas: Morris to their realism of presentation and to their worship of courage, and Lewis to their use of magic and myth. Paradoxically, in spite of Morris’ paganism, his prose romances played an important part in Lewis’s conversion to Christianity.
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Bochkareva, Nina S. "GENRE POETICS OF A. S. BYATT’S BOOK ‘PEACOCK & VINE’". Вестник Пермского университета. Российская и зарубежная филология 13, nr 3 (2021): 70–78. http://dx.doi.org/10.17072/2073-6681-2021-3-70-78.
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The article deals with the last book of the well-known English writer A. S. Byatt Peacock & Vine (2016) in the context of her oeuvre (novels, stories, essays). It is proved that the controversial reviews by British critics are caused by the character of the genre and the author’s mythology. The book combines biographies of two artists and an essay on design of the turn of the 19th–20th centuries. It is concluded that A. S. Byatt uses her particular method of analogy at different levels of poetics. She juxtaposes biographies and oeuvres of William Morris and Mariano Fortuny with the help of such universals as the North and the South, which acquire a complicated character due to their being represented through national (or more specifically, cultural) images and symbols. The emphasis is not so much on the life as on the oeuvre of the designers – first and foremost, their houses and fabrics as seen by Byatt herself and through her biography and oeuvre. Her main principle lies in conceiving something of her own through something of the other’s, and vice versa. While the figure of Morris in Byatt’s novel The Children’s Book (2009) was fitted in the social, political, and psychoanalytical contexts of the epoch, the book Peacock & Vine ‘illuminates’ the artist’s life both with his own works and Fortuny’s experiments with colors and light. The main evaluation criteria are color (light) and proportion (contexture), distinctive for both the artists’ design and Byatt’s style. However, in verbal interpretation of floral and animalistic ornaments (vines and pomegranates, peacocks and phoenixes, lions and dragons), one can see a comprehensive dialogue between paganism and Christianity, past days and modernity, a man and a woman, two famous designers, ars nouveau and ars deco. Illustrations (photographs, drawings, reproductions) together with the verbal text of the biographical essay make an organic whole of the book, which emphasizes a special role of paratext in Byatt’s works. Searching for words to represent visual images is a special task for an author of a biographical essay that she was conscious about in her works. In the book Peacock & Vine, Byatt acquires the accuracy and clarity of the language she was dreaming of when working over the novel Still Life (1985). At the same time, simplicity and complexity of her style have become an integral part of her own mythology. The Englishman Morris, being passionate about the Middle Ages and the North, travelled to Iceland and conceived of the Scandinavian saga as a real history. In the Byatt’s book he is compared with the Spaniard Fortuny, who had a penchant for Classical Antiquity and the Mediterranean world, lived in Paris and Venice, and conceived of the Scandinavian saga only through the prism of the Wagner Theatre. As to the Byatt’s love to Scandinavian mythology, it goes back to her war-time childhood, which is reflected in her book Ragnarok: The End of the Gods (2011).
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Siscoe, George L. "Book Review: Scandinavian Studies of the Aurora: The Northern Light: From Mythology to Space Research". Journal for the History of Astronomy 16, nr 2 (czerwiec 1985): 150–51. http://dx.doi.org/10.1177/002182868501600212.
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McLeod, Shane. "Gods and Settlers: The Iconography of Norse Mythology in Anglo-Scandinavian Sculpture by Lilla Kopár". Parergon 31, nr 1 (2014): 231–33. http://dx.doi.org/10.1353/pgn.2014.0042.
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Shinakov, Evgenii, i Arthur Chubur. "Ornitomorphic Plots on Radial Temporal Rings: Semantics and Mythological Origins". Stratum plus. Archaeology and Cultural Anthropology, nr 5 (październik 2022): 259–72. http://dx.doi.org/10.55086/sp225259272.
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Radial temporal rings (earrings, head pendants) serve for some direct aesthetic purposes, but also for ethnic identification, status-ranking and have a symbolic-sacred value. The article addresses one of the least studied group in this category of jewelry. Dents on the inside of the handle here are replaced by some cast ornitomorphic figures. A typological correlation analysis made it possible to highlight 3 insulated variants and 4 types. The defining feature is the iconography and semantics of the image associated with a certain layer of mythology. The motives of Iranian and Byzantine art are traced (some motives find analogies in Volga Bulgaria). Some of the images go back to the Perm beast style and Finno-Ugric mythology. One variant has some contrast versions for the explanation of its semantics: Oriental, Christian and Scandinavian (the plot “Odin and crows”), transformed through the Perm animal style. All this complex picture can find an explanation in the geopolitical and cross-cultural situation of the bearers of this jewelry at the end of the 9 th — mid 10th centuries. These items were found on the lands of the late Romenskaya and final Luka-Raykovetskaya cultures (Vyatichi, Severians, Radimichi, Drevlyane, and in borderlands populated by the Tivertsi and White Croats).
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Rezvushkina, Sofya A., i Kirill E. Rezvushkin. "The Mythological Frontier as a Key to Understanding the Other: A Review of the “Myths from A to Z” Book Series". Journal of Frontier Studies 9, nr 1 (7.03.2024): 211–25. http://dx.doi.org/10.46539/jfs.v9i1.544.
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The authors employ the concept of the “mythological frontier” for analyzing the mythology of small communities, acknowledging that geographic and linguistic borders often do not coincide with mythological boundaries. Using philosophical anthropology, the mythological frontier helps to define the limits of the Other, enabling engagement with myth and the mythological from the periphery of contemporary consciousness.
This paper aims to critically assess the “Myths from A to Z” series published by Mann, Ivanov, Ferber. This series covers a wide range of mythologies, including Scandinavian, Egyptian, Celtic, Indian, Greco-Roman, Sumerian, Japanese, Korean, Romanian, Slavic, Volga, and Karelian-Finnish. Myths are crucial for understanding the environment and drawing upon our cultural legacy, playing a significant role in helping individuals find meaning in the world and establish shared cultural and personal identities.
The authors adopt various approaches to analyze the mythology of specific communities, focusing on the relationships between myth and culture, myth and fairy tale, or myth and epic. They also attempt to reconstruct comprehensive mythological systems or the historical pasts of the communities under study. A common theme across most books in the series is the self-construction and understanding of the Other (a different culture) through the “mythological frontier”, although this is not always explicitly stated.
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N.M., Vitvitska, i Yesypenko N. H. "Lexical and Grammatical Features of Direct Speech of the Trickster-Character in Fiction Discourse (Based on the Material of Neil Gaiman's Collection "Scandinavian Mythology")". Studia Philologica, nr 21 (2023): 46–56. http://dx.doi.org/10.28925/2311-2425.2023.214.
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The article is devoted to the analysis of lexical and grammatical features of direct speech of a trickster character in literary discourse. The material for the study was taken from Neil Gaiman's collection of short stories "Scandinavian Mythology". This article includes an analysis of previous studies with the aim of forming the theoretical basis for studying the direct speech of a trickster character, analysis of lexical and grammatical constructions used in the character's direct speech, consideration of the results obtained and drawing conclusions. The subject of the article is the lexical and grammatical features of the direct speech of the trickster character, Loki, being one of the main characters of Neil Gaiman's collection "Norse Mythology". The object of the article is the trickster character and his direct speech, in particular his lexical and grammatical features. Summarizing the analysis of lexical and grammatical features of the direct speech of the trickster character in Neil Gaiman's collection "Norse Mythology", we can determine that this character uses mainly neutral vocabulary in order to simplify communication and increase his influence on other characters. However, it is important to note that the linguistic characterization of a trickster is formed not only by vocabulary, but also by grammar, syntax, and morphology. In his direct speech, Loki uses simple sentences and narrative structures, and actively uses verbs to indicate dynamic actions. This makes his speech lively and expressive. This style of speech helps to emphasize the character's temper and role in a literary text, to create a unique image of the trickster that attracts the reader's attention and reflects his cheerful and energetic nature. In general, the lexical and grammatical features of the trickster character's speech play an important role in creating an artistic image and the dynamics of action in the text of the collection.
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Suciadi, Marcellinus Ferdinand, Andre Andre i Levina Novelinda. "Pengembangan Digital Motion Comic Berfokus pada Autentikasi Mitologi, Studi Kasus: “Ragnarok”". KELUWIH: Jurnal Sains dan Teknologi 1, nr 2 (31.08.2020): 86–92. http://dx.doi.org/10.24123/saintek.v1i2.2954.
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Abstract—Norse Mythology is a mythology that originated in the Scandinavian region, which is the basis of all mythologies in the area. At this time, people's knowledge of Norse mythology was only obtained from films, and the adaptation was not in accordance with the original mythology. Submission of stories remains inauthentic due to additional characters that are not present in the original story, thus affecting the authentication of the mythology being conveyed. To educate the public about Norse mythology, interesting media are needed but can also convey a message by not changing the specific elements of the mythology. The survey was conducted on 53 teen respondents and fans of the Marvel franchise. From the survey results, 88% of respondents had never used a motion comic application, but were interested in trying a motion comic application. Through the survey results, a motion comic with the theme of Norse Mythology was made to fulfill the stated goals. The results of the design will be implemented and have several options, including Starting Story, Journal, and Credit. Start Story will start the story from beginning to end, with a mini game in the middle. The journal is a collection of information about the Ragnarok War, and the Credit contains the names of those who intervened in making the Ragnarok motion comic. The making of this motion comic uses several programs. The verification and validation stage is carried out after the implementation has been completed. This application can help teens and adults to understand the mythological story of the Ragnarok War, based on the results of the validation that has been done.
Keywords: motion comic, mythology, Norse, Ragnarok, war
Abstrak—Mitologi Nordik merupakan mitologi yang berasal dari daerah Skandinavia, yang merupakan dasar dari segala mitologi yang berada pada daerah tersebut. Pada masa ini, pengetahuan masyarakat mengenai mitologi Nordik hanya didapat dari film, dan adaptasi tersebut tidak sesuai dengan mitologi aslinya. Penyampaian cerita tetap tidak autentik dikarenakan adanya karakter tambahan yang tidak ada dalam cerita aslinya, sehingga mempengaruhi autentikasi mitologi yang disampaikan. Untuk mengedukasi masyarakat mengenai mitologi Nordik, maka dibutuhkan media yang menarik namun juga dapat menyampaikan suatu pesan tersebut dengan tidak mengubah unsur khas dari mitologi tersebut. Survei dilakukan kepada 53 responden remaja dan fans dari franchise Marvel. Dari hasil survey, 88% responden belum pernah menggunakan aplikasi motion comic, namun tertarik untuk mencoba aplikasi motion comic. Melalui hasil survei tersebut, dibuatlah sebuah motion comic bertema Mitologi Nordik untuk memenuhi tujuan yang telah ditetapkan. Hasil desain akan diimplementasikan dan memiliki beberapa pilihan, diantaranya adalah Mulai Cerita, Jurnal, dan Kredit. Mulai Cerita akan memulai cerita dari awal hingga akhir, dengan mini game di tengah-tengah. Jurnal adalah kumpulan dari informasi mengenai Perang Ragnarok, dan Kredit berisi nama-nama pihak yang turut campur tangan dalam pembuatan motion comic Ragnarok. Pembuatan motion comic ini menggunakan beberapa program. Tahap verifikasi dan validasi dilakukan setelah implementasi telah selesai. Aplikasi ini dapat membantu remaja dan dewasa untuk memahami cerita mitologi Perang Ragnarok, berdasarkan hasil validasi yang telah dilakukan.
Kata kunci: mitologi, motion comic, norse, perang, ragnarok
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Dobat, Andres Siegfried. "En gave til Veleda – Om en magtfuld spåkvinde og tolkningen af de sydskandinaviske krigsbytteofringer". Kuml 58, nr 58 (18.10.2009): 127–52. http://dx.doi.org/10.7146/kuml.v58i58.26392.
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A gift to VeledaThe large finds of military equipment in Southern Scandinavian bogs (the so-called war booty sacrifices) have long comprised a central aspect of research into the Iron Age. During recent decades, research has focused on the chronology and origin of these find assemblages, the hierarchical structure of Iron Age armies and their military strategic organisation and logistics. Comparably little attention has, on the other hand, been paid to the finds in their primary sense, i.e. as votive offerings and, accordingly, expressions of ritual acts with ideological and religious connotations. Our knowledge concerning the character of the acts performed before and during the actual depositions, and the religious background for these acts, is very limited. An historical account of which there has, until now, been little awareness in this respect, is the history of Veleda. According to Tacitus’ Historiae, Veleda was a prophetess of the German tribes north of the Lower Rhine. Tacitus’ account may serve as a source of inspiration towards a better understanding of these war booty offerings. The aim of this article is to draw attention to the ritual and sacral dimension of the Southern Scandinavian war-booty sacrifices and to paint a picture of the possible background and religious connotations for these finds.About the South Scandinavian war booty sacrificesThe Southern Scandinavian war booty sacrifices typically contain various types of weapons and elements of the personal equipment of individual warriors, as well as tools and other elements belonging to an army’s logistical apparatus. The find sites are concentrated geographically relative to the eastern coast of Jutland and on the island of Funen. The majority dates from the Late Roman Iron Age and the beginning of the Migration Period. It is generally accepted that the war booty offerings represent the equipment belonging to defeated armies, deposited by the victors of the conflicts. Recent debate has focussed on the question of whether the sites mirror offensive or defensive military actions. With regard to the ritual background and religious connotations of the sites, discussions have traditionally been based on descriptions by Classical writers of the sacrificial rituals of Celtic or Germanic tribes. These traditionally form the explanatory framework for the interpretation of the sites as representing votive offerings of a victorious army to some war god or other.The sacrificial sites as a ritual sceneCommon features of the war booty offerings are their location in a wetland environment, originally a lake or bog, and the intensive destruction of the artefacts previous to their deposition. Analyses indicate that this destruction was conducted very intentionally and according to a firmly structured pattern of ritual behaviour. The sacrifices thus represent considerable organisational and logistical investment(s), involving the participation of large groups of people. Through an association with high steep moraine hillsides, the topography of some of the offering sites resembles that of a natural amphitheatre. The localities seem to have been intentionally chosen to allow a large audience to witness the performance of the offering. The offerings can thus be seen as highly performative and dramatic spectacles, which, drawing on both additive and visual effects, can be expected to have left a lasting impression in the memories both of individuals and of the community.Tacitus’ account of VeledaTacitus’ account of Veleda forms part of his report in books IV and V of Historiae, on the revolt of the tribes of the Batavi and the Bructeri against Roman administration, which took place around 70 AD in the province of Germania Inferior. The prophetess is introduced in the context of the siege and destruction of Castra Vetera, near modern Xanten, in 69/70 AD. According to Tacitus, she had foretold the victory of the alliance of Germanic tribes; one of the legionaries of the defeated legions was sent to her along with other gifts. She is described as a woman of the tribe of the Bructeri. Furthermore she is told to have had enormous authority, due to her prophetical and even divine power. Shortly after the siege of Castra Vetera, the Germans are reported to have succeeded in capturing the flagship of the Roman Rhine fleet, which again was brought as a present to Veleda.Veleda and her giftsVeleda is described more elaborately as being one of many prophetesses worshipped by the Germanic tribes, and who even may have achieved divine status. She was said to dwell in a tall tower of some kind, and direct contact with her was prohibited. Against the background of Veleda’s divine status, and her role as a mediator between gods and humans, the gifts which were brought to her after the Germans’ two victories can be seen as offerings. The Roman legate, said to have been killed on his way to Veleda, corresponds to the presentation and execution of the enemy commander in the context of the Roman triumph, or the killing of the Roman officers in the aftermath of the Battle of Teutoburg Forest. The trireme, the largest type of contemporary military vessel, cannot be expected to have been intended for military use but as an obvious expression of Roman military power, and hence clear proof for the Germans’ triumph.From Castra Vetera to IllerupThe range of gifts which, according to Tacitus, were brought to Veleda, correlates with some of the elements of the war booty offerings. With regard to the Roman officer, it was especially weapons and personal equipment, presumably those of the leading commanders of the defeated armies, that were deposited at several sites. These probably received special attention during preparation of the offerings. Tacitus’ account on the captured trireme is reminiscent of the finds of either complete or parts of what can be assumed to have been specialised military vessels seen in a number of war booty offerings. The similarities between the example of Veleda and the war booty offerings are not limited to the respective gifts/offerings. In both cases, the giving of gifts/offerings is in the context of a military campaign. The vessels, in particular, can be characterised as very spectacular items, and in both cases the victor of the military conflict was responsible for the giving of gifts/offerings.Veleda and her sisters in the NorthTacitus’ description of Veleda, and other references to Germanic prophetesses in Classical writings, shows parallels to the description of the Völva in much later Old Norse written sources from the medieval period. Fulfilling a role as a mediator between the gods and humans, these female prophetesses seem not only to have been part of actual society, but also an element of contemporary mythology. The Völva can be perceived as being associated with the mythological concept of the Norns, which again relate to other mythological figures, such as the Valkyries, Disir and a number of minor deities. Like Veleda, these religious specialists and mythological beings all relate to the general concept of fate, and in particular to warriors and war. Several mythological beings and female deities that appear in the Old Norse written sources, presumably representing an old stratum within the mythological narrative, show close links to a wetland environment, in the form of lakes, wells or bogs.The goddess in the lakeEven though both the various historical sources and the archaeological evidence are characterised by considerable variation in terms of space and time they nevertheless open up far-reaching perspectives and can be used as source of inspiration for a better understanding of war booty offerings. This applies not least to the question of whether these phenomena result from unsuccessful invasions or successful raids abroad. The latter hypothesis has been promoted more recently with reference to the Roman Triumph. The example of Veleda shows that the tribe of the Bructeri celebrated a version of the Triumph, indicating a similar practice in a Germanic context. This supports the above hypothesis that at least some of the war booty offerings may result from the showing off to the native community of war booty acquired abroad. The story of Veleda is of particular interest with reference to the nature of the ritual and religious dimension of the finds. Tacitus’ account of Veleda resembles the Southern Scandinavian war booty offerings on several counts. Additionally, there are obvious parallels between Veleda and the other Germanic prophetesses, on the one hand, and a large number of female characters in Old Norse written sources on Pre-Christian mythology, on the other. These similarities may be rooted in a shared conceptualisation of the influence of the divine powers on the outcome of a battle, of the predictability of the will of these powers and how appreciation could be expressed to such powers or to the ones who had communicated their will. The example of Veleda can be seen, like the later written accounts of Vølvas, Norns, Valkyries and other mythological beings, as a distant echo of this concept; it presumably belongs to the oldest strata of Pre- Christian cosmology reflected in our written sources. The historical sources can be seen as mirroring a past cognitive reality and religious world view; according to which female beings, both as religious specialists and as mythological characters, fulfilled a crucial role in the context of coercion, war and death. Against this background, one may ask whether the war booty offerings can be interpreted as reflecting votive offerings relating to religious specialists who were incorporated into preparation of the military campaign. Additionally, one may ask whether the nameless war god, to whom the war booty offerings are traditionally thought to have been dedicated, may also be sought among the various female beings mentioned in Classical and later Old Norse sources. These sources mirror a mythological conceptualisation of wells, lakes and bogs as not merely transitional zones or entrances to the supernatural, but as the very dwelling place of various mythological beings. Against this background, the changing context of votive activities in Scandinavia, practised in both wetland environments and in the context of settlements, may have been rooted in the dualism of a female and masculine sphere in religious and military practice.Andres Sieg fried DobatMoesgård Museum/Aarhus Universitet
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Crawford, Jackson. "Anatoly Liberman. In Prayer and Laughter: Essays on Medieval Scandinavian and Germanic Mythology, Literature, and Culture." Scandinavian-Canadian Studies 27 (1.12.2020): 168–70. http://dx.doi.org/10.29173/scancan184.
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Orlyansky, Evgeny. "The main features of the economic ethics of European paganism". SHS Web of Conferences 101 (2021): 02003. http://dx.doi.org/10.1051/shsconf/202110102003.
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This article is devoted to the study of the main distinguishing features of the economic ethics of religious and mythological systems of the main ancient ethnic groups of Europe in the pagan era. The economic ethics of these systems is the very first foundation of the Christian economic ethics that dominated in the traditional market economy. It formed the basis for its development in ancient philosophy and, then, in Christianity. This economic ethics is most clearly expressed in ancient Greek mythology. But it is not limited to this, and its main features are also present in the religious and mythological systems of other European ethnic groups (Scandinavians, Celts, Balts, Slavs), which gives it the universal character.
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Pierce, Marc. "Anatoly Liberman.In Prayer and Laughter: Essays on Medieval Scandinavian and Germanic Mythology, Literature, and Culture". Scandinavian Studies 93, nr 2 (2021): 299–302. http://dx.doi.org/10.3368/sca.93.2.0299.
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Björkstrand, Gustav. "Grundtvig i finländskt perspektiv". Grundtvig-Studier 50, nr 1 (1.01.1999): 121–37. http://dx.doi.org/10.7146/grs.v50i1.16336.
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Grundtvig in a Finnish PerspectiveBy Gustav BjörkstrandFor several reasons it must cause surprise that Grundtvig did not show more attention to Finland. In Grundtvig’s well-known and noteworthy statements about the Nordic tradition, in which he also referred to the Scandinavian universities, one looks in vain for references to the Finnish institutes of higher education.This fact becomes so much more remarkable when it is considered that in 1835 Grundtvig was invited to become a corresponding member of the Finnish Literary Society. As far as it has been possible to establish, Grundtvig did not reply to the invitation, possibly because of an uncertain knowledge of the Finnish language, even though Grundtvig must have been familiar with the fact that the Swedish language occupied a prominent position in Finland. Likewise, it seems difficult to explain that Grundtvig did not take any great interest in the mythology of old Finland, as it is known for example from the Kalevala legend.It is common knowledge that in Grundtvig’s own lifetime, mid- 19th century Scandinavism included Finland, so that it seems indisputable that this should have reminded Grundtvig of Finland as belonging to the Nordic community.From 1868 the folk high school ideals became known in Finland. Several Finnish writers and educators voiced their enthusiasm about the Danish folk high schools and expressed the wish that the ideas should be realized in Finland, too. There was some discussion, however, whether the inclusion of old Nordic mythology was to rest on an all-Scandinavian basis, or the main stress should be laid on the specifically Finnish mythology. It is possible that uncertainty on this point may have been a contributory cause why no evidence of any interest in Finland can be found even in Grundtvig’s later years. This assumption may find support in yet another aspect of the early debate about the folk high school ideals in Finland; several of the earliest Finnish advocates of the folk high school expressed a strong wish that Bible and Church teaching should have a prominent place, a view that Grundtvig must certainly have disagreed with.From the late 1880s the folk high school in Finland saw a real breakthrough. From the available correspondence between Finnish and Danish folk high school pioneers it may be established that the Finns sought inspiration at the well-known Danish high schools, primarily Askov, but also Valle-kilde, in order to find support there for their endeavours to make the aims behind the folk high school take root in Finland. The most important representative of the early movement in Finland, Sofia Hagman, had been in Denmark as early as 1884. In a book from 1891 about the folk high school in Denmark she was criticized for giving too much attention to the Danish perspectives at the expense of the situation in the other Nordic countries. In any case, there is abundant evidence of the decisive importance that the folk high school ideas acquired in Finland towards the end of the 19th and in the beginning of the 20th centuries. Thus, in 1917, when Finland achieved political indepen-dence, there were 42 folk high schools, 28 of which were Finnish-speaking, while 14 were Swedish-speaking. Through the whole of the 20th century the folk high schools have continued to play an important role, even though aims and practice have been extensively adjusted. It is particularly striking that the schools are increasingly attended by young people wanting to obtain specific qualifications with a view to further education, whereas more universal ideals such as enlightenment for life and the living dialogue seem to have receded into the background.As far as Grundtvig’s hymns are concerned, they have found their way into Finland to some ex-tent, mainly, however, through Swedish-language versions. The best known Grundtvig hymn in both language traditions is Kirken den er et gammelt hus (Our Church it is an Ancient House).In conclusion, the article deals with the research carried out in Finland on Grundtvig and the hi-story of his influence (Wirkungsgeschichte). The historical background is that nowhere else has the folk high school had such effect and such impact. The writer of the present article (Gustav Björkstrand) has contributed himself with a monograph from 1981 about the folk high school in the Swedish-speaking part of Finland, viewed in relation to the mobilization of the common people. The main conclusion is that the importance of the folk high school has primarily depended on three factors: the endeavour to awaken the common people to the defence against Russification, the struggle to arouse an interest in Swedish language and culture, and finally the fight against secularization in defence of Christian values.
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Więch, Karol. "Z punktu A do punktu B to za mało. Marki samochodów jako supersystemy rozrywkowe". Literatura i Kultura Popularna 25 (28.07.2020): 191–209. http://dx.doi.org/10.19195/0867-7441.25.11.
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The aim of the article is to analyse two car brands, Volvo and Toyota, using the concept of the “supersystem of entertainment” in the Marsha Kinder approach. In both companies, people respon-sible for marketing create the image of the brand using analogous strategies as in the case of promo-ting products of popular culture. The cars exceed the frame of the commodity and in the process of “mediation of things” they become brands, culture products, even heroes. Scandinavian mythology and design, Japanese anime and kaizen philosophy, Hollywood productions and cartoon characters mix with the entire axiological and cultural system that is the core of the modern car brand. Ap-plying narrative marketing and using various media platforms, brands connect elements of nation, culture, responsibility and other social values, to stand out from other brands. These treatments not only strengthen the relationship between the brand and consumer. They make it necessary to look at contemporary manufactured vehicles as elements of society that bring commercial and media success for companies.
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Beuermann, Ian. "Anatoly Liberman, In prayer and laughter. Essays on medieval Scandinavian and Germanic mythology, literature, and culture. Paleograph Press, Moscow 2016". Peritia 30 (styczeń 2019): 295–96. http://dx.doi.org/10.1484/j.perit.5.121000.
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Vetushko-Kalevich, Arsenii. "Nordic Gods in Classical Dress". Journal of Latin Cosmopolitanism and European Literatures, nr 2 (13.11.2019): 57–71. http://dx.doi.org/10.21825/jolcel.v2i0.8303.
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The 19th century in Sweden, like in many other European countries, saw a large decline in the quantity of Neo-Latin literary production. However, a range of skillful Latin poets may be named from this period: Johan Lundblad, Johan Tranér, Emil Söderström, Johan Bergman and others, engaged as well in translating from Swedish into Latin as in composing poems of their own. It was also in the 19th century that the longest Latin poem ever written in Sweden came out – “De diis arctois libri VI” by Carl Georg Brunius (1792–1869), remarkably neglected by the scholars, although it was published twice during the lifetime of its author (1822 and 1857).
The subject of the poem fits perfectly in the intellectual movement of the period, namely national romantic interest in the Nordic antiquities. The six books represent a summary of Eddaic mythology from the creation of the Universe until the Ragnarök.
Brunius’ admiration for the Scandinavian Middle Ages is apparent; later it turned out to be productive in architecture, the field in which Brunius is most remembered nowadays. Brunius does not seek to turn Scandinavian gods into Greek ones. He accurately follows his sources (both the prosaic and, to a somewhat smaller extent, the poetic Edda) in content, sometimes even in wording. However, it should be born in mind that the writer was a classicist by his education. Although many compositional traits of ancient epos are lacking in the poem, it is full of the allusions to classical authors at the phrasal level. Some of them are formulaic verse elements, others deliberate and exquisite quotations. It is this elegant combination of close adherence to the sources with the use of the ancient authors (Virgil, Lucretius, Ovid, Horace) that the paper is mainly focused on.
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Breunig, Malene, i Shona Kallestrup. "Translating Hygge: A Danish Design Myth and Its Anglophone Appropriation". Journal of Design History 33, nr 2 (21.01.2020): 158–74. http://dx.doi.org/10.1093/jdh/epz056.
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Abstract Hygge, the lifestyling trend that offers a path to ‘authentic’ Danish contentment, is one of the more curious instances of cultural translation in recent years, both semantically and in terms of how an everyday Danish concept has been transformed by London publishing houses into a marketable commodity. Despite the widespread international popular success of the phenomenon, hygge has received little academic attention. What is particularly lacking is an analysis of the cultural transferral of the concept, of the rather different set of meanings constructed by the remodelling of hygge by English-speaking commentators. This article proposes that design history can offer a helpful framework for this kind of understanding. By approaching the case of hygge as a ‘mythology’ in the Barthian sense, we will argue that the concept builds upon the legacy of the mythologies imprinted on Anglophone societies by the branding of Scandinavian Design since the 1950s. Highlighting the links between such myths and the manufactured British version of hygge, we will posit that the meaning of hygge—the way it operates as a sign in British culture today—is dependent upon longstanding structures of understanding.
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Jiresch, Ester, i Vincent Boswijk. "CONTEMPORARY RECEPTION OF EDDIC THEMES IN NEW MEDIA: VIRTUAL 'NORDIC' IDENTITIES, CASE STUDY: DARK AGE OF CAMELOT". Tijdschrift voor Skandinavistiek 37, nr 1 (24.06.2020): 38–54. http://dx.doi.org/10.21827/tvs.37.1.36929.
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This article discusses the most recent (twenty-first century) development in reception and adaptation of Nordic mythology (particularly referring to the Prose and Poetic Edda) and the appropriating of Nordic identities (stereotypes) that is taking place in the so-called new media. In the last two decades the reception of Nordic mythology or Nordic 'themes' in different new media like film, comic books, heavy metal music and computer games has exploded. New media are generally considered expressions of 'popular' culture and have therefore not yet received much scholarly attention. However, since those media are growing notably and especially computer games (console and online applications) reach an enormous audience.Scientific interest in them has increased in recent years. Miller mentions the 'sexiness of Vikings in video games, the pretense of Viking-like settings for popular television programs […]' (Miller, 2014, p. 4). The case study is Dark Age of Camelot (DAoC – Mythic Entertainment 2001) which is a MMORPG (Massive Multiplayer Online Role Playing Game) that is currently (2015) still available to play online. We will show examples of themes (characters, narratives, objects etc.) deriving from Eddic texts and how they are represented and deployed in the game. Since the representation of 'Nordic' identity is a key feature in the game's construction, it will therefore be addressed as well. The fictional world of DAoC consists of three realms – Albion, Hibernia and Midgard – that are at war with each other. Their (human) inhabitants are respectively based on medieval Anglo-Saxon, Celtic and Norse tribes that differ distinctively in their character traits. Our goal is to elaborate on the representation of identity traits of the fictional 'Norse' races (as defined by the game) that appear in DAoC. We will scrutinize if and how the game uses older or more current concepts of (national) identity. In order to do so, an overview of Scandinavian / Nordic identity constructions that have been popular and / or widespread from antiquity will be presented, via medieval sources to romanticism and nineteenth century nationalism until current discussions of national identity.
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Ямаева, Елизавета Еркиновна. "POISONOUS YELLOW SEA AND RAVEN: COMPARATIVE STUDY OF MYTHOLOGIES OF THE ANCIENT SCANDINAVIANS AND THE TURKS OF SAYANO-ALTAI". Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, nr 4(113) (30.12.2021): 113–21. http://dx.doi.org/10.37972/chgpu.2021.113.4.014.
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В фольклористике имеют место такие универсальные локусы и персонажи, как мировое дерево, гора, потоп, Многоголовый Змей, Циклоп, Дракон и т. д. К ним восходят истоки образов и героев раннего мифологического эпоса. Актуальность исследования ранних этапов развития эпоса заключается не только в выявлении типовых мотивов, но и расшифровке и интерпретации предметного мира, персонажей архаического периода, которые к настоящему времени потеряли значимость. В богатейшем арсенале алтайского героического эпоса имеются мотивы, включающие ядовитое море, скалу, ворона, жертвоприношение ворону, глаз оленя. Аналогичные мотивы обнаруживаются в эпосе тувинцев и дербетов Западной Монголии, а также в якутском олонхо. На основе материалов современной традиционной и культовой практики эти архаические образы трудно интерпретировать. Изучение текстов позволило предположить, что расшифровку этих образов, возможно, следует искать в славянской и скандинавской мифологиях. Исследование показало, что сходство образов ядовитого моря, разведчика ворона в мифологиях северных народов и тюрков Саяно-Алтая свидетельствует о палеоазиатских мифологических архетипах. Очевидно, что таким образом древнейшие архетипы, которые составили предметный мир мифологического этапа алтайского эпоса, со временем утратили семантический подтекст. Расшифровка мифологического подтекста эпических текстов тюрков Саяно-Алтая может иметь практическое применение в плане культурных контактов. There are such universal events and characters in folklore as the world tree, the mountain, the flood, Multi-headed Serpent, Cyclop, Dragon, etc. The origins of the images and heroes of the early mythological epic lead to them. The study relevance of the early stages of epos development lies not only in identifying typical motifs, but also in decoding and interpreting the subject world, the characters of the archaic period, which have now lost their significance. There are some moments in the richest arsenal of the Altai heroic epos including the poisonous sea, the rock, the raven, the sacrifice to the raven, the deer’s eye. Similar motifs are found in the epos of the Tuvans and Derbets (tribes of Western Mongolia), as well as in the Yakutian tribe Olonkho. Based on the materials of modern traditional and cult practice, these archaic images are difficult to interpret. The study of these texts contributed to the idea that in order to decode those images we should search through the Slavic and Scandinavian mythology. The research showed that the poisonous sea and the raven scout images are similar in the mythology of the northern peoples and the Turks of the Sayano-Altai proves the existence of Paleoasiatic mythological archetypes. It is obvious that in this way the most ancient archetypes, which made up the subject world of the Altai epos mythological stage, eventually lost their semantic subtext. The study showed that the decoding of mythological subtext of Sayano-Altai Turks epos texts may have practical use in terms of cultural contacts.
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Ucherek, Dorota. "Magiczno-religijna mozaika. Źródła obrazów postaci bogów Krain Wewnętrznego Morza z „Sagi o Zbóju Twardokęsku” Anny Brzezińskiej". Literatura i Kultura Popularna 27 (29.12.2021): 213–45. http://dx.doi.org/10.19195/0867-7441.27.16.
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The aim of this article is to find the sources of images of the Inner Sea Lands gods in Anna Brzezińska’s “Saga of Twardokęsek the Brigand”. The author presents the most important features of these characters, their most recognizable actions and attributes, comparing them with possible prototypes derived from Greek, Roman, Scandinavian, Slavic, and Hindu mythology, as well as Christianity. She points out that the gods in Brzezińska’s saga, although worshipped, are not omnipotent and do not possess full creative powers. They turn out to be only slightly more powerful than their off spring, the fruit of their relationships with humans — witches. Shaping human fates, they are only able to recreate ancient patterns over and over again and are subject to a higher power (similarly to how the Greek gods were subject to Fatum). In their images, we can also find traces of inspiration from the classic mythopoetic fantasy, especially Ursula K. Le Guin’s series about the Earthsea. Thus, these images can be seen as a magical-religious mosaic, which evokes associations with the considerations of classical anthropology on the relations between magic and religion. The author also puts forward the hypothesis about treating these images as a metaphor for the process of creating literature, especially in its original, oral form.
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Smorževs'ka, Oksana Oleksandrìvna. "The hero-warrior in the worldview and practice of contemporary Pagans in Ukraine". Religio: revue pro religionistiku, nr 1 (2023): [9]—31. http://dx.doi.org/10.5817/rel2023-1-3.
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Russia's military aggression against Ukraine has actualized the ideological Native Faith understanding of the role of the warrior, and his sacred duty as a defender of his native land and his ideals. For a Ukrainian Native Faith adherent (a Ridnovir), a warrior is not merely a person with a weapon in his hands who is serving in the military. The image of the warrior is closely intertwined both with historical events and persons, and with mythic and poetic images, primarily from Slavic and Scandinavian mythology. This forms a romantic image of a brave warrior-hero who is called by higher forces (Perun, Matir-Slava, Odin, the Valkyries) to defend his native land and to be happy to die for it. A special place belongs to Taras Shevchenko, a spiritual warrior whose weapon was the word. Relying on one's religious beliefs and worldview in order to interpret selected events in the history of Ukraine (the life of Prince Svyatoslav the Brave, the Cossack era, the struggles of the UIA) is an excellent ideological foundation for maintaining the fighting spirit and substantiating the tradition. Among the Ridnovirs who have died defending Ukraine's freedom, we may pick out the examples of Serhiy Tabala, Anton Tsedik and Serhiy Zaikovsky.
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Olsen, Carl. "More than Mythology: Narratives, Ritual Practices and Regional Distribution in Pre-Christian Scandinavian Religions by Ed. Catharina Raudvere and Jens Peter Schjødt". Scandinavian Studies 86, nr 1 (2014): 105–9. http://dx.doi.org/10.1353/scd.2014.0004.
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Chasanah, Ida Nurul. "Migrasi simbolik wacana kuasa tubuh: menguak wacana tubuh dalam Ode untuk Leopold Von Sacher-Masoch karya Dinar Rahayu". Masyarakat, Kebudayaan dan Politik 27, nr 4 (1.10.2014): 184. http://dx.doi.org/10.20473/mkp.v27i42014.184-194.
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The presence of Indonesian women writers with the dominant discourse of the power of body, presenting the pros and cons that would not go over. Female body is the language of women that can be poured through the writing of literary works. Helene Cixous brought the spirit of "writing the body" to motivate women authors to express himself through written discourse, which so far has been dominated by men. Cixous spirit is also promoted by Dinar Rahayu appear in the novel Ode untuk Leopold Von Sacher-Masoch. Dinar Rahayu voicing complexity of urban women's voices in this novel through several migration symbolic of the power of the female body. Migration is enriched by the presence of symbolic power in a sound body of Greek and Scandinavian mythology and Leopold voices in his work Venus in Furs. Through in-depth reading on the symbolic migration brought to the Ode untuk Leopold Von Sacher-Masoch through the voices of the characters and the particularities of naration techniques can be seen that this novel (as well as other sexist novels) is not merely a commodity that exploit sexuality pornography but rather an attempt to author urban female voices will be the "body power". This study uses content analysis method that begins with the reading of literature, heuristic and hermeneutic, and take advantage of intertextuality approach.
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Olsson, Stefan. "Book review: More than Mythology: Narratives, Ritual Practices and Regional Distribution in Pre-Christian Scandinavian Religions, written by Catharina Raudvere and Jens Peter Schjødt". NUMEN 61, nr 2-3 (18.03.2014): 320–24. http://dx.doi.org/10.1163/15685276-12341325.
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