Journal articles: 'Norse mythology'

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Bek-Pedersen, Karen. "Old Norse Mythology." History: Reviews of New Books 50, no. 1 (January 2, 2022): 11–12. http://dx.doi.org/10.1080/03612759.2022.2010290.

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Brito Neto, José Arimatéia de, and Elaine do Nascimento Sousa. "Os povos nórdicos e a contribuição de sua mitologia para a literatura inglesa." Somma: Revista Cientifica do Instituto Federal de Educação Ciência e Tecnologia do Piauí 2, no. 1 (June 30, 2016): 101–8. http://dx.doi.org/10.51361/somma.v2i1.32.

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This study aimed to show the influence of Norse mythology on the formation of English-speakingpeoples’ identity. The bibliographic, theoretical,and descriptive research was based on the analysis of literary works as a wayto establish relations between Norse mythology and English literature. The results indicatedthat knowledge on mythology is an important aspect during the study of a language, as it is directly linked to a people’s literature and culture.

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Lundgreen-Nielsen, Flemming. "Grundtvigs nordisk-mytologiske billedsprog - et mislykket eksperiment?" Grundtvig-Studier 45, no. 1 (January 1, 1994): 142–98. http://dx.doi.org/10.7146/grs.v45i1.16146.

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Grundtvig ’s Norse Mythological Imagery - An Experiment that Failed?By Flemming Lundgreen-NielsenSince his early youth, Grundtvig worked frequently and diligently with Norse mythology. From 1805 to 1810 he tried in a scholarly way to sort out its original sources and accordingly its ancient meanings, though Grundtvig even as a philologist preferred to give spontaneous enthusiasm aroused by a synthetic vision a priority above linguistic proofs (Norse Mythology, 1808). After a pause of some years, Grundtvig in 1815 returned to Norse mythology, allowing himself a more free and subjective interpretation in lieu of an all-encompassing conception. From now on aiming to turn the Norse myths into an accessible store of modeme national imagery, he adapted a favourable evaluation of Snorri’s Edda, which until then he had been regarding as late, distorted information.Drawing mainly upon previously unprinted material the paper demonstrates, how Grundtvig around 1820, 1832, in the 1840’s and during the Schleswig-Holstein war 1848-50 tried to revive Snorri’s Edda for actual commonday use. To put Grundtvig’s opinions in a historical perspective, other contemporary statements are included, such as a Copenhagen press and pamphlet feud on the potential usefulness of Norse mythology to sculptors and painters (1820-21) and a public lecture in favour of Greek mythology and Christian civilization given by professor Madvig (1844).Grundtvig’s own attempts to mobilize the Norse gods in current affairs are illustrated in selected examples from his poetical works. The conclusion indicates that his project was a failure: none of his ballads and poems popular then and today deal with Norse mythology, and although his Norse Mythology, 1832, became a handbook for teachers of the Folk Highschools, neither later poets nor philosophers employed the Norse mythological imagery he recommended. In the war 1848-50 Grundtvig wanted to take advantage of situations from myths and legends such as Thor battling the giant Hrungnir and prince Uffe the Meek killing two Saxons, but the majority of the Danes cherished heroes of the people such as the brave unknown army soldier celebrated in a 1858-statue and the little homblower from a bestselling verse epic. At the end of his life, Grundtvig continued to write poetry in Norse mythological terms, but apparently made no efforts to get his manuscripts printed - why is not known.Among the reasons to be suggested for the failure of Grundtvig’s Norse mythological imagery, the victorious ideas in Romantic 19. century poetry and arts pertaining to originality and individualism, the prominent place of traditional classical mythology in the minds of the cultured public, and the political emphasis in the mid century period on democratization are probably most decisive.Finally attention is given to the fact that the proverbial phrase about ’freedom to Loki as well as to Thor’, the only surviving popular dictum from Grundtvig’s Norse mythological writings, almost invariably is misunderstood to be a token of boundless tolerance to both parties in the struggle between good and evil. However, several instances can be mentioned to prove that Loki, mythologically half god, half giant, in Grundtvig’s understanding does not represent evil as much as a gifted intellectualism without religious faith, possessing potential to acquire it.An English version of the paper with less regard to quotes from unprinted Grundtvig manuscripts and more attention to introductory paragraphs on Danish literary history is published in Andrew Wawn (ed.): Northern Antiquity. The Post-Medieval Reception of Edda and Saga, Hisarlik Press, 1994, p. 41-67.

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Sayers, William. "The Norns in Old Norse Mythology." Scandinavian Studies 84, no. 2 (July 1, 2012): 225–28. http://dx.doi.org/10.2307/23343117.

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Fields, Peter. "Norse Mythology by Neil Gaiman (review)." Rocky Mountain Review 72, no. 2 (September 2018): 324–26. http://dx.doi.org/10.1353/rmr.2018.0030.

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Visovan, Cristina. "Old Norse gods in contemporary Norwegian novels." Vikings: New Inquiries into an Age-Old Theme 9, no. 2 (December 15, 2017): 31–50. http://dx.doi.org/10.53604/rjbns.v9i2_4.

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Old Norse mythology is one of the most prolific fields in modern times. From a scholarly renewed interest to a more popular based reception, the old myths and gods seem to have been revived. The following article deals with the representation and role of two of the Old Norse gods, Odin and Ty, in contemporary Norwegian literature. It discusses in a comparative way the image of the Old Norse gods as presented by the written sources about the Viking mythology, The Poetic Edda and The Prose Edda, and by the contemporary novels that have them as main characters. Contemporary problems that trouble the Norwegian society seem to find their expression in literature where the old gods are presented as driven by anger and a desire to take revenge, either because they have lost their power or because they are led by a sense of duty, integrity and doing what is right. In the so called age of globalization, the Norwegian writers that use Old Norse mythology as inspiration seem to be themselves driven by a feeling of nostalgia after a time when the society was more homogenous or by a desire to promote and live by the Viking values

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Lindow, John. "Ritual and Hierarchy in Old Norse Mythology." Religionsvidenskabeligt Tidsskrift 74 (March 25, 2022): 46–62. http://dx.doi.org/10.7146/rt.v74i.132098.

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ABSTRACT: Within Old Norse mythological narratives, the presence or absence of ritual establishes hierarchy. As exemplified in death ritual, ritual orders the two major classes of mythological beings, placing the Æsir (gods) above the jǫtnar (“giants”). In addition, the practice of ritual or ritual-like activity, resembling sacrifice, orders the class of the Æsir themselves, placing Óðinn above Þórr. RESUME: I de norrøne mytologiske narrativer etableres et hierarki igennem tilstedeværelsen og fraværet af ritualer. Dødsritualer er et eksempel på, at ritualer ordner de to store klasser af mytologiske væsner hierarkisk ved at placere aserne (guderne) over jætterne. Desuden rangeres aserne også hierarkisk indbyrdes igennem ritualer eller ritual-lignende aktiviteter, som minder om ofringer, idet Óðinn placeres over Þórr.

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Nistor, Cristina Mihaela. "Revisiting Norse Mythology: the Case of A.S. Byatt’s Ragnarök." Studia Universitatis Babeș-Bolyai Philologia 68, no. 2 (June 25, 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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Suciadi, Marcellinus Ferdinand, Andre Andre, and Levina Novelinda. "Pengembangan Digital Motion Comic Berfokus pada Autentikasi Mitologi, Studi Kasus: “Ragnarok”." KELUWIH: Jurnal Sains dan Teknologi 1, no. 2 (August 31, 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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Králová, Magda. "Classical or Old Norse myth? German and Danish approaches to the use of myth in the modern literature at the turn of the 19th century." Acta Antiqua Academiae Scientiarum Hungaricae 61, no. 1 (May 17, 2022): 75–86. http://dx.doi.org/10.1556/068.2021.00008.

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Abstract In the study, I provide a comparative overview of the aesthetical debate that took place at the turn of the 18th and 19th century in Germany and Denmark concerning the use of the Old Norse versus the classical mythology in literature. I discuss Johann Gottfried Herder’s ideas on this topic, expressed in his work Vom neuern Gebrauch der Mythologie (1767) and especially in his dialogue Iduna oder der Apfel der Verjüngung (1796), with focus on the following question: Does the rejuvenating potential of the Norse myth as suggested by Herder in Iduna, allow any room for the classical inspirations in modern literature? Herder’s view will provide a starting point of the comparison for the cultural situation in Denmark where the University of Copenhagen announced in 1800 a prize question on aesthetics “Would it benefit Northern polite literature if ancient Northern mythology were introduced and generally accepted by our poets in place of its Greek counterpart?”. The entries in this contest represented the view of the younger generation, namely Adam Oehlenschläger, Jens Møller and Ludvig Stoud Platou. I summarize their views and examine Herder’s influence on the debate.

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Ljøgodt, Knut. "‘Northern Gods in Marble’: the Romantic Rediscovery of Norse Mythology." Romantik: Journal for the Study of Romanticisms 1, no. 1 (December 1, 2012): 141. http://dx.doi.org/10.7146/rom.v1i1.15854.

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The Norse myths were rediscovered in the late 18th century, and became important to contemporary culture during the first half of the 19th century. The Romantics discussed the usage of themes from Norse mythology; soon, these themes became widespread in art and literature. Their popularity is closely connected with the national ideals and political situations of the period, but they were often given individual artistic interpretations. The Romantic interest in Norse myths and heroes held sway over artists and writers throughout the 19th century.

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Hansen, Robin Wildt. "Cosmogony through division in Romanian and world mythology." Studii de istorie a filosofiei românești 2023, no. 19 (December 18, 2023): 171–78. http://dx.doi.org/10.59277/sifr.202319.11.

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In this paper, an interpretation is attempted of the Romanian myth, “Legenda despre zidirea lumii”. Parallels are drawn with tales such as Genesis, the Babylonian narrative of Marduk constructing the world from Tiamat, and the Norse story of Odin shaping the world from Ymir. In the Romanian myth, Satan’s prideful omission to enunciate God’s blessing as he collects sand results in the formation of varied terrains. His attempt to harm God inadvertently spreads divine blessings all over the world. Similarly, in Norse and Yoruba myths, stifling barriers and attempts at desecration lead to the paradoxical spreading of life and blessings, emphasizing the unforeseen outcomes of resistance to divine will.

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Bergström, Jan. "Incipient earth science in the Old Norse mythology." Geologiska Föreningen i Stockholm Förhandlingar 111, no. 2 (June 1989): 187–91. http://dx.doi.org/10.1080/11035898909453794.

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Smith, Edward W. L. "Informed by the ancients: Norse mythology and psychotherapy." Scandinavian Journal of Psychology 40, no. 3 (September 1999): 217–20. http://dx.doi.org/10.1111/1467-9450.00119.

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Smith, Troy Wellington. "From Enthusiasm to Irony: Kierkegaard’s Reception of Norse Mythology and Literature." Kierkegaard Studies Yearbook 23, no. 1 (July 26, 2018): 223–46. http://dx.doi.org/10.1515/kierke-2018-0011.

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AbstractAlthough the reader of Either/Or is intended to be, at the very least, somewhat ambivalent towards the Kierkegaardian pseudonym A, I argue that this character’s enthusiasm for all things Old Norse is shared by the Kierkegaard of this period. Kierkegaard’s interest in his region’s romantic past, however, would be short-lived. As his authorship progressed from the aesthetic to the religious, he found himself in conflict with another titan of the Danish Golden Age, Nicolai Frederik Severin Grundtvig. Since Grundtvig’s work dealt extensively with Norse mythology, Kierkegaard’s interest in the Norse cooled as his polemics against Grundtvig caught fire.

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Hermann, Pernille. "Middelalderisme og erindring – Oehlenschläger og den nordiske mytologi." Slagmark - Tidsskrift for idéhistorie, no. 79 (June 25, 2019): 47–62. http://dx.doi.org/10.7146/slagmark.vi79.130728.

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This article investigates points of intersection between medievalism and memory. It mainly focuses on the formative period of the 19th century when the Norse past, the so-called Viking Age, as well as Old Norse mythology became integral parts of Danish national identity. The article homes in on Adam Oehlenschl.ger’s rejuvenation of the mythological materials and his reflections on the usefulness of the local mythologies, both for a national spirit and for poetic renewal. It is demonstrated that 19th century medievalism, with its focus on mythology, essentially was a project of cultural memory, that is, of recollecting knowledge from culture’s childhood, and, additionally, that poetry, and with that imagination, plays a prominent role for the construction of a meaningful past.

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Orchard, A. "Cold Counsel: Women in Old Norse Literature and Mythology." Notes and Queries 50, no. 1 (March 1, 2003): 77–78. http://dx.doi.org/10.1093/nq/50.1.77.

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Orchard, Andy. "Cold Counsel: Women in Old Norse Literature and Mythology." Notes and Queries 50, no. 1 (March 1, 2003): 77–78. http://dx.doi.org/10.1093/nq/500077.

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Lyby, Thorkild C. "Odin og Hvide Krist: Om Sune Aukens bog Sagas spejl. Mytologi, historie og kristendom hos N. F. S. Grundtvig, København, 2005." Grundtvig-Studier 56, no. 1 (January 1, 2005): 144–59. http://dx.doi.org/10.7146/grs.v56i1.16474.

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Odin og Hvide Krist: Om Sune Aukens bog Sagas spejl. Mytologi, historie og kristendom hos N. F. S. Grundtvig, København, 2005[Odin and the White Christ: On Sune Auken ’s book Sagas spejl. Mytologi, historie og kristendom hos N. F. S. Grundtvig, Copenhagen, 2005]By Thorkild C. LybyThe article gives a short account of Sune Auken’s published doctoral thesis, Sagas spejl. Mytologi, historie og kristendom hos N. F. S. Grundtvig [Saga’s mirror. Mythology, history and Christianity in N. F. S. Grundtvig] in which he investigates Gr’s preoccupation with Norse mythology and its relationship to history and Christianity. In Auken’s view Norse mythology during the years 1806-10 became something like an actual religion for Gr, a basis for an entire concept of life. As he could not give up traditional Christianity, he was forced to try to harmonise it with Christianity. In this attempt he failed, which was the main reason of his mental breakdown in 1810. After 1815 he did not work theoretically with the myths, but in his poetry they still played an important role. Not until 1832 was a sort of harmony established between his theoretical and his poetic relationship to the myths.Furthermore, the article gives a short account of the public examination on 3 June 2005, when Auken defended his thesis. The contributions of the different opponents at this occasion are mentioned.Finally, the author elaborates his own contribution as the third opponent. Two points are discussed: (a) What did Gr mean by the expression “the image of God”? (b) Is Auken’s view of Norse mythology as an alternative religion justified? Would it not be better to characterize it as “quasi-religious” than to label it “a religion”?

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Kuusela, Tommy. "In Search of a National Epic: The use of Old Norse myths in Tolkien's vision of Middle-earth." Approaching Religion 4, no. 1 (May 7, 2014): 25–36. http://dx.doi.org/10.30664/ar.67534.

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In this article some aspects of Tolkien’s work with regard to his relationship to folklore and nationalism are presented. It is also argued, contrary to Lauri Honko’s view of literary epics, that pre-literary sources constitute a problem for the creators of literary epics and that their elements can direct the choice of plot and form. Tolkien felt that there was a British – but no English – mythology comparable to the Greek, Finnish or Norse ones. He tried to reconstruct the ‘lost mythology’ with building blocks from existing mythologies, and dedicated his work to the English people. In this, he saw himself as a compiler of old source material. This article considers his use of Old Norse sources. With Honko’s notion of the second life of folklore it is argued that Tolkien managed to popularise folklore material while his efforts to make his work exclusively English failed; for a contemporary audience it is rather cross-cultural.

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Dobrev, Atanas. "Loki, Thor, Odin: Norse Mythology and its Role in Nordic Noir Literature." Филологически форум, no. 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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Vișovan, Cristina. "Re-writing Old Norse Mythology – Siri Pettersen’s Odinsbarn." Studia Universitatis Babeș-Bolyai Philologia 62, no. 3 (September 30, 2017): 167–80. http://dx.doi.org/10.24193/subbphilo.2017.3.13.

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Taggart, Declan. "Do Thor and Odin Have Bodies? Superperception and Divine Intervention among the Old Norse Gods." Religions 10, no. 8 (August 6, 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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Braithwaite-Westoby, Manu. "Volcanoes in Old Norse Mythology: Myth and Environment in Early Iceland." Scandinavian Studies 94, no. 2 (July 1, 2022): 257–59. http://dx.doi.org/10.5406/21638195.94.2.09.

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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, no. 27 (March 11, 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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Taggart, Declan. "Did a Little Birdie Really Tell Odin? Applying Theory of Mind to Old Norse Religion." Journal of Cognition and Culture 21, no. 3-4 (October 14, 2021): 280–308. http://dx.doi.org/10.1163/15685373-12340113.

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Abstract Theory of mind, the theory that humans attribute mental states to others, has become increasingly influential in the Cognitive Science of Religion in recent years, due to several papers which posit that supernatural agents, like gods, demons, and the dead, are accredited greater than normal knowledge and awareness. Using Old Norse mythology and literary accounts of Old Norse religion, supported by archaeological evidence, I examine the extent to which this modern perspective on religious theory of mind is reflected in religious traditions from the Viking Age. I focus especially on the extent to which superperception and superknowledge were attributed to Old Norse supernatural agents and the impact of this on expressions of religion; how the attribution of theory of mind varied with circumstances and the agents to which it was being attributed; and the extent to which features of religious theory of mind common in other societies were present in the historical North. On this basis, I also evaluate the usefulness of Old Norse historiography to Cognitive Science of Religion and vice versa.

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N.M., Vitvitska, and 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, no. 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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Krakow, Annett. "The Polish interest in the Eddas — Joachim Lelewel’s Edda of 1828." European Journal of Scandinavian Studies 50, no. 1 (April 28, 2020): 111–33. http://dx.doi.org/10.1515/ejss-2020-0006.

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AbstractIn the second half of the 18th century and early 19th century, a rising interest in Old Norse literature outside the Nordic countries could be noted that, to a great deal, focused on the Poetic Edda and the Prose Edda as sources for Norse mythology. This interest is also reflected in the works of the Polish historian Joachim Lelewel (1786–1861) who, in 1807 and 1828, published translations and retellings of the Poetic and the Prose Edda. These were based on French, German and Latin translations. The second edition of 1828 is characterised by a more comprehensive section with eddic poetry, the selection of which is also explained by Lelewel, as well as an essay on pre-Christian religion that also includes a research overview and a list of editions/translations of the Eddas.

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Mcneal, Robin. "Constructing Myth in Modern China." Journal of Asian Studies 71, no. 3 (August 2012): 679–704. http://dx.doi.org/10.1017/s0021911812000630.

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This study presents an overview of attempts by Chinese literati during the twentieth century to articulate a coherent Chinese mythology, primarily based on ancient texts but eventually to some extent drawing from ethnographic materials and folklore as well, and all much beholden to Western examples such as Greek and Norse mythology. This examination of text-based activities sets the stage for an inquiry into a wave of monument building during the Reform Era, much of which has celebrated China's ancient myth, history, and legend. A recent park in Wuhan dedicated to the legendary sage ruler and conqueror of floods, Yu the Great, serves as a case study of how, over the last three decades, old Chinese myths have been inscribed on the new Chinese landscape, and allows exploration of this phenomenon in relation to deeper issues concerning the role of myth in Chinese society, particularly its unexpected marriage with modernity.

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Knutson, Sara Ann. "The Materiality of Myth." Temenos - Nordic Journal of Comparative Religion 55, no. 1 (June 29, 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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Gilmore, Amanda. "Trees as a Central Theme in Norse Mythology and Culture: An Archaeological Perspective." Scandinavian-Canadian Studies 23 (December 1, 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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Henderson, Deborah. "Thor's Mighty Hammer: Christianity, Justice and Norse Mythology in Stieg Larsson's Millennium Trilogy." Journal of Popular Culture 47, no. 5 (October 2014): 1047–61. http://dx.doi.org/10.1111/jpcu.12188.

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Price, Neil. "Passing into Poetry: Viking-Age Mortuary Drama and the Origins of Norse Mythology." Medieval Archaeology 54, no. 1 (November 2010): 123–56. http://dx.doi.org/10.1179/174581710x12790370815779.

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FLACK, ANDREW J. P. "Continental Creatures: Animals and History in Contemporary Europe." Contemporary European History 27, no. 3 (February 27, 2018): 517–29. http://dx.doi.org/10.1017/s0960777318000036.

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In Norse mythology Fenrir, a wolf God born of the God of fire, possessed so much power that he horrified the other gods. Restrained by a chain forged from elements of the earth – such as the breath of fish and the roots of mountains – his power was held in check so that it could not be unleashed across the realms of gods and men. The chains of his captivity appeared to be fragile but were in fact supernaturally robust, though his eventual catastrophic escape was foretold by oracles of the age.

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Schulman, Jana K. "Cold Counsel: Women in Old Norse Literature and Mythology. Sarah M. Anderson , Karen Swenson." Speculum 79, no. 2 (April 2004): 444–46. http://dx.doi.org/10.1017/s0038713400087972.

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Kousoulis, Antonis A., Konstantinos S. Mylonas, and Konstantinos P. Economopoulos. "Violent death and trauma in Norse mythology: a systematic reading of the Prose Edda." European Surgery 48, no. 5 (August 15, 2016): 304–10. http://dx.doi.org/10.1007/s10353-016-0438-9.

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Woolf, Judith. "The Spaewife’s Prophecy: A Verse Translation of the Norse Poem Vǫluspá, with an Introduction and Notes." Scandinavian-Canadian Studies 24 (December 1, 2017): 40–88. http://dx.doi.org/10.29173/scancan137.

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ABSTRACT: The epic poem Vǫluspá, in which an ancient seeress foretells to Odin the tragic fate awaiting his son Baldr and the eventual destruction of the gods at Ragnarǫk, is an acknowledged masterpiece of medieval literature. However, outside the world of Norse studies it remains surprisingly little known. Vǫluspá was composed in pre-literate Iceland and transmitted through performance for several centuries before being committed to vellum, but none of the available English translations (including W. H. Auden’s less than faithful version) were written to be read aloud, making the poem much less likely to be included in university courses on European or world literature. My verse translation, The Spaewife’s Prophecy, attempts to convey the enigmatic power of the original text, while the notes are intended both to make the poem accessible to readers unfamiliar with Norse mythology and also to situate it in the material and cultural world of the Icelanders.

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Lundgreen-Nielsen, Flemming. "N. F. S. Grundtvig: Rim-Brev til Nordiske Paarørende, 1832. Tekstkritisk og kommenteret udgave." Grundtvig-Studier 59, no. 1 (January 1, 2008): 53–117. http://dx.doi.org/10.7146/grs.v59i1.16529.

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N. F. S. Grundtvig: “Rim-Brev til Nordiske Paarørende”, 1832. Tekstkritisk og kommenteret udgave[N. F. S. Grundtvig: Rhymed Epistle to the Norse Kinsmen ”, 1832. Critical and annotated edition]By Flemming Lundgreen-NielsenGrundtvig’s “Rhymed Epistle to the Norse Kinsmen” (258 verses), published as a prologue to Norse Mythology or The Language of Myth, 1832, is reprinted in a densely annotated version, with attention being given to manuscripts in the Grundtvig Archive and statements in Grundtvig’s other writings as well as to earlier scholarly treatments. Emphasis is placed on the extent to which Grundtvig employs ambiguous imagery with a multitude of mythological details which may be categorised according as they derive from medieval sources such as The Prose Edda of Snorri Sturluson, poems of The Elder Edda and The Danish Chronicle by Saxo. In a Postscript, the text as a whole is located in Grundtvig’s secular writings in exactly that period when he coins the phrase “First a Man, then a Christian”, thus heralding a humanistic approach to an education for citizenship and practical everyday life. It is among numerous other things demonstrated that the still frequently quoted lines about freedom for Loki as well as for Thor and about struggle and competition historically viewed embody meanings different from those routinely assumed by modem users.

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Spisak, April. "Treasury of Norse Mythology: Stories of Intrigue, Trickery, Love, and Revenge by Donna Jo Napoli." Bulletin of the Center for Children's Books 69, no. 4 (2015): 213–14. http://dx.doi.org/10.1353/bcc.2015.0939.

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McLeod, Shane. "Gods and Settlers: The Iconography of Norse Mythology in Anglo-Scandinavian Sculpture by Lilla Kopár." Parergon 31, no. 1 (2014): 231–33. http://dx.doi.org/10.1353/pgn.2014.0042.

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Braithwaite-Westoby, Manu. "Mathias Nordvig.Volcanoes in Old Norse Mythology: Myth and Environment in Early Iceland." Scandinavian Studies 94, no. 2 (2022): 257–59. http://dx.doi.org/10.3368/sca.94.2.0257.

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Mills, Kristen. "Baldr, Ymir, and the Myth of the First Death in Old Norse Mythology (Part 1)." Folklore 135, no. 2 (April 2, 2024): 159–81. http://dx.doi.org/10.1080/0015587x.2024.2339588.

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Mardar, Andreea Mihaela. "Pure Northerness – William Morris and C.S. Lewis." Linguaculture 10, no. 2 (December 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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Lummer, Felix. "Was Guðmundr á Glasisvǫllum Irish?" Temenos - Nordic Journal of Comparative Religion 55, no. 1 (June 29, 2019): 75–95. http://dx.doi.org/10.33356/temenos.83426.

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This article tackles the question of a possible Irish origin for the Old Norse literary figure Guðmundr á Glasisvǫllum. The images of Guðmundr, his realm Glasisvellir, and the sometimes associated territory of Ódáinsakr fluctuate in various ways in the different saga narratives in which they occur. The variability of the Guðmundr á Glasisvǫllum narrative has caused scholars to debate its possible origin for over a century. The more widely supported notion is that a mythological compound around Guðmundr must have originated in Irish mythology and folklore rather than being an indigenous, Nordic construct. The present article aims to follow up on this discussion, comparing the original Old Norse source material and that found in Gesta Danorum to Irish accounts that might have influenced them. By highlighting the differences between the Guðmundr á Glasisvǫllum complex and the suggested Irish sources, the degree to which it seems likely the motif could actually have originated in Irish thought will be assessed. Norwegian folk tales about the magical island Utrøst will then be considered to highlight the possibility of a more local background for Guðmundr and his realm.

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Jiresch, Ester, and Vincent Boswijk. "CONTEMPORARY RECEPTION OF EDDIC THEMES IN NEW MEDIA: VIRTUAL 'NORDIC' IDENTITIES, CASE STUDY: DARK AGE OF CAMELOT." Tijdschrift voor Skandinavistiek 37, no. 1 (June 24, 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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Máthé, Nóra. "“Are You Thor, the God of Hammers?” – Mixing the Posthuman and Old Norse Mythology in Thor: Ragnarok." Caietele Echinox 34 (April 20, 2018): 200–206. http://dx.doi.org/10.24193/cechinox.2018.34.15.

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Callow, Christopher. "The Norns in Old Norse Mythology. By Karen Bek-Pedersen. Dunedin Academic Press. 2011. xvi + 224pp. £30.00." History 99, no. 337 (September 15, 2014): 672–74. http://dx.doi.org/10.1111/1468-229x.12078_2.

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Krupp, E. C. "Book Review: Myths and Their Interpretation: Star Myths of the Vikings: A New Concept of Norse Mythology." Journal for the History of Astronomy 28, no. 4 (November 1997): 353–54. http://dx.doi.org/10.1177/002182869702800408.

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MARKELOVA, O. A. "Reception of Old Norse Mythology in Modern Icelandic Poetry: the Case of “Blóðhófnir” by Gerður Kristný Guðjónsdóttir." Вестник Московского государственного лингвистического университета. Гуманитарные науки, no. 12 (2022): 130–36. http://dx.doi.org/10.52070/2542-2197_2022_12_867_130.

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Toporova, Tatyana V. "Old Norse Heimr ʻWorldʼ and its Toponymic Derivatives in the Poetic Edda." Вопросы Ономастики 21, no. 1 (2024): 152–68. http://dx.doi.org/10.15826/vopr_onom.2024.21.1.007.

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The article examines the mythopoetic concept of the ‘world’ (Old Norse heimr) and its derivatives — toponyms with the suffix -heimr in the Poetic Edda. It involves a thorough analysis of their meanings and their significance in the Eddic mythopoetic framework. The methodology for studying this lexical unit and its derivatives is based on a thesaurus description of folk terminology, alongside an exploration of polysemy within epic texts and lexicological investigations of key concepts in the Rigveda. Employing an integrated approach, the analysis considers various factors such as statistical distribution, grammatical case paradigms, syntactical functions of predicates, etymology to understand semantic motivations, mythology to reveal connections to mythological elements, poetic devices like alliteration and repetitions, and the relationship between linguistic signs and referents in the extralinguistic world. The predominance of singular forms (28) over plural forms (8) suggests two significant points: the existence of multiple worlds in the Eddic mythopoetic model initially, and an evolutionary progression from a collection of similar objects towards a unified whole. This semantic evolution is exemplified by the transition from ‘dwellings of giants’ (plural iǫtna heimar) to ‘Dwelling of giants’ = ‘World of Giants’ (singular Iǫtun-heimr). The Old Norse term heimr is associated with the universal world model depicted as a world tree (nine worlds = nine roots of Iggdrasill in Völuspá). It contributes to the construction of the Eddic chronotope in which the world tree, along with its roots (representing worlds), is described as located “under the earth,” signifying its origin. It also demonstrates temporalization, being linked with the temporal concept of age (Old Norse ƍld) and exhibits anthropocentric orientation.

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Journal articles on the topic 'Norse mythology'

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