Relevant bibliographies by topics / Vikings, fiction

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Academic literature on the topic 'Vikings, fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Vikings, fiction"

1

Anistratenko, Antonina, and Anatoliy Kotsur. "Fantasy interpretation model for historiography Fantasy novel plus AH subgenre." Current issues of social sciences and history of medicine, no. 2 (August 14, 2023): 104–8. http://dx.doi.org/10.24061/2411-6181.2.2022.364.

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Taking into account the different goals of the AH and Fantasy novel plus AH subgenre writing, we can try and develop one definition of both. AH writing reconstructs the national or world history and the changed facts, conclusions draw our attention to specific facts, key moments of well-known stories that are invisible for us, since of everyday life’s obvious reality prevents us from analyzing processes, we turn on the automatic mode instead. While Fantasy novel plus AH subgenre writing is rather monumental work, because it turns to the world history or historiography model making. Fantasy novel plus AH subgenre works use the historyographical method, but they exist in unreal time dealing with well-known constructions of the action world history of civilization. For example, one of the first uchronic stories by George Richard Raymond Martin “The Hedge Knight” (Martin) uses the space of Middle Ages in Europe for fiction story modeling. Also, it is an abstract of the world of the latest “Game of Thrones” – the greatest fiction saga of the new age literature in the 2000s. There is no doubt that “A Song of Ice and Fire” is constructed based on the matrix of such myth as “The Elder Edda” and “The Lord of the Rings” by John R. R. Tolkien. Legendary fantasy writer J. R. R. Tolkien spent much of his life studying, translating, and teaching ancient tales of northern Europe at Oxford and drew on them for his own writing. These epic stories, with their wizards and knights, dragons and trolls, cursed rings and magic swords, are as fascinating today as they were thousands of years ago. Reading them brings us as close as we will ever get to the magical worlds of the Vikings and the origins of their twentieth-century counterpart: Tolkien’s Middle Earth gave G. R. R. Martin, according to his own confession, the idea of the fantasy world of Westeros. The article deals with the specifics of the Fantasy novel plus AH subgenre in comparison to the Alternate history itself. The aim of the study is to emphasize the main features of the Fantasy novel plus AH subgenre and its common and different characteristics. The study uses such a method as comparative, descriptive, analysis and statistics counting. The novelty of the current research is realized by the essence of the first-time study of the AH subgenres on the world literature sources. The sources of the study are novels written by G. R. R. Martin “A Song of Ice and Flame”, “Kaiser and the War” by Simon J. Ortiz and V. Neff “Queens Don’t Have Legs”. Conclusions. As well as “A Song of Ice and Flame” by G. R. R. Martin, V. Neff’s trilogy exhibits a gallery of kings, queens, dukes, wizards, captains, people. Some of them are real, some are prototypes of actual statesmen; some characters come from Greek myths, while some – from the author’s fantasy. Although the objective of the alternative history method in the both works is quite different, it plays a similar role in the plot construction. Alternative history builds the walls of fantasy world from the bricks of actual historical elements, making the novel interesting for readers and involving them as betrayers.
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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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Riisoy, Anne Irene. "Performing Oaths in Eddic Poetry: Viking Age Fact or Medieval Fiction?" Journal of the North Atlantic 801 (April 2015): 141–56. http://dx.doi.org/10.3721/037.002.sp811.

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4

Sigurdson. "Violence and Historical Authenticity: Rape (and Pillage) in Popular Viking Fiction." Scandinavian Studies 86, no. 3 (2014): 249. http://dx.doi.org/10.5406/scanstud.86.3.0249.

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Sigurdson, Erika Ruth. "Violence and Historical Authenticity: Rape (and Pillage) in Popular Viking Fiction." Scandinavian Studies 86, no. 3 (2014): 249–67. http://dx.doi.org/10.1353/scd.2014.0027.

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6

Laagland, Femke. "Member States’ Sovereignty in the Socio-Economic Field: Fact or Fiction?" European Labour Law Journal 9, no. 1 (February 11, 2018): 50–72. http://dx.doi.org/10.1177/2031952518758097.

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The author assesses the case law of the Court of Justice of the European Union (the Court) in which the European business freedoms collide with national labour law. The approach of the Court will be scrutinised with the aim of discovering the extent to which the Court encroaches upon the Member States’ autonomy in the field of labour law. This topic became popular directly after the landmark decisions in Viking and Laval of December 2007. Both cases addressed conflicts that were related to socio-economic diversity in the European Union following the enlargements. In the end, the Court decided where the balance between the conflicting economic and social values had to be struck and, by doing so, did not grant any room of discretion to the Member States. Since then, the freedom of establishment and the freedom to provide services have obtruded themselves into the sphere of national labour law. The Court has broadened its jurisdiction in the socio-economic field not only in cross-border situations but also in internal situations via its interpretation of social policy Directives by virtue of Article 16 CFREU. The research shows that the Court is assessing the legitimacy of restrictions imposed by national labour law in seemingly different distinguishable ways since 2007. Although the Court does not seem to aspire to a uniform labour law system throughout the European Union, its approach applied in Viking and Laval cannot be considered a thing of the past. Due to poor reasoning, it is not clear when and where the Court draws the line. Since its rulings cannot readily (or even at all) be subject to political review, the ensuing legal uncertainty leads to anxiety about the Court being the ultimate decider in the socio-economic field.
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Турыгин, А. А., and Е. В. Зимина. "The British Jingo and the German Viking: the Emergence and Reception of the Colonial Hero Image of Cecil Rhodes and Carl Peters." Диалог со временем, no. 77(77) (November 29, 2021): 261–76. http://dx.doi.org/10.21267/aquilo.2021.77.77.017.

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Литература, наряду с официальными источниками, может дать представление о формировании культа двух одиозных деятелей колониальной эпохи – Сесила Родса и Карла Петерса. Их деятельность на африканском континенте, получившая неоднозначную оценку при жизни, впоследствии была переосмыслена официальной пропагандой, привела к изменению общественного мнения о колониализме и имперских ценностях. Африканское прошлое Империи в Великобритании вылилось в одну из форм протеста 2020 г., в то время как в Германии его пересмотр был связан с оценками национал-социализма, реанимировавшего идеи колониализма. The paper considers the colonial policy of Kaiser Germany and the British Empire in Africa via periodicals and fiction. Alongside with official sources, fiction can provide an insight into the way the cult of the two most notorious colonialists – Cecil John Rhodes and Carl Peters – emerged. Their activities in the African continent, cautiously assessed even in their lifetime, was reconsidered in official propaganda and by writers of the 19th-20th centuries, which led to the change in public opinion regarding colonialism and imperial values. The process of reconsidering went in different ways, however. The imperial past of the British Empire was shown in the protests of 2020 in the UK, whereas in Germany this reconsideration is closely connected with the reassessment of the Nazi period that attempted to revive colonial ideas of the first quarter of the 20th century.
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Dew, Spencer. "The Association of Small Bombs: A Novel Fiction. By Karan Mahajan. New York: Viking, 2016. $26.00." Religious Studies Review 42, no. 3 (September 2016): 202. http://dx.doi.org/10.1111/rsr.12562.

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Biles, Jeremy. "The Childhood of Jesus. Fiction. By J. M. Coetzee. New York: Viking, 2013. Pp. 288. Paper, $16.00." Religious Studies Review 41, no. 4 (December 2015): 184–88. http://dx.doi.org/10.1111/rsr.12255.

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Racz, Gregory J. "Viking Penguin's New Translations of Borges into English:Collected Fictions.Translated by Andrew Hurley. Viking Penguin, 1998.Selected Poems, ed. Alexander Coleman. Translated by Willis Barnstone, Alexander Coleman, Robert Fitzgerald, Stephen Kessler, Kenneth Krabbenhoft, Eric McHenry, W. S. Merwin, Alastair Reid, Hoyt Rogers, Mark Strand, Charles Tomlinson, Alan S. Trueblood, John Updike. Viking Penguin, 1999.Selected Non-Fictions, ed. Eliot Weinberger. Translated by Esther Allen, Suzanne Jill Levine, Eliot Weinberger. Viking Penguin, 1999." Translation Review 61, no. 1 (March 2001): 73–78. http://dx.doi.org/10.1080/07374836.2001.10524103.

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Books on the topic "Vikings, fiction"

1

Place, Robin. The Vikings, fact and fiction: Adventures of young Vikings in Jorvik. Cambridge: Cambridge University Press, 1985.

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Schachner, Judith Byron. Yo, Vikings! New York: Dutton Children's Books, 2002.

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Hauger, Torill Thorstad. Escape from the Vikings. Bloomington, MN: Skandisk, 2000.

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Stanier, Tom. The Vikings. London: BBC Books in association with Heritage, 1987.

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Peter, Andersen, and Buschinger Danielle, eds. Les vikings dans la réalité et la fiction: Actes du colloque de Saint-Riquier, décembre 2005. Amiens: Presses du centre d'études médiévales, Université de Picardie-Jules Verne, 2006.

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Dédéyan, Marina. Les Vikings de Novgorod. [Paris]: Flammarion, 2010.

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José, Llanos Collado Juan, ed. El hijo de Odin. Madrid: La Factoria de Ideas, 2011.

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McAllister, Margaret. The worst of the Vikings. Huntington Beach, CA: Pacific Learning, 2001.

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Hill, Sandra. A tale of two vikings. New York City: Leisure Books, 2004.

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Dadey, Debbie. Vikings don't wear wrestling belts. New York: Scholastic, 2001.

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Book chapters on the topic "Vikings, fiction"

1

Powell, Lynn. "Jessie Saxby and Viking Boys. Concepts of the North in Boys’ Own Fiction." In What is North?, 273–91. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.naw-eb.5.120798.

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"Saul Bellow, Herzog, New York: Viking, 1964." In The Twentieth-Century American Fiction Handbook, 291–94. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444393675.ch57.

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BRETON, Justine. "Comprendre les épidémies des séries arthuriennes au regard de la pandémie de 2020." In Les épidémies au prisme des SHS, 45–54. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.5989.

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Si le Moyen Âge est loin d’être une période ignorante, les fictions médiévalistes ont cependant souvent tendance à l’oublier pour privilégier l’image d’une époque peu évoluée, et par conséquent vite démunie face aux risques épidémiques. Ceux-ci sont pourtant fréquents : la quasi-totalité des séries médiévalistes mentionne au moins une épidémie, qu’il s’agisse de peste (Un monde sans fin, The Witcher), de choléra (Kaamelott), de fièvres diverses (Vikings, The White Princess, The Last Kingdom) ou de menaces surnaturelles similaires dans les programmes de fantasy (Merlin, Game of Thrones). Plus que de diaboliser un Moyen Âge de fiction, il s’agit en réalité, dans ces programmes largement diffusés et suivis, de projeter nos propres attentes et limites sur un contexte prétendument archaïque et dépassé. L’objectif de cette communication sera de montrer comment la représentation des épidémies dans les contextes médiévalistes reflète notre propre insécurité face aux risques épidémiques, alors même que le Moyen Âge est mis en scène comme un repoussoir de nos sociétés contemporaines. À partir d’un corpus large de séries télévisées diffusées depuis les années 2000 et consacrées au Moyen Âge – qu’il s’agisse d’un Moyen Âge pseudo-historique ou de fantasy –, cette réflexion nous amènera à questionner l’apparente frontière – temporelle, scientifique et éthique – qui sépare l’image que nous avons du Moyen Âge d’une part, et celle que nous avons de nos sociétés contemporaines d’autre part. Le Moyen Âge est en effet régulièrement présenté comme une période obscurantiste et globalement arriérée par rapport à nos civilisations contemporaines – tant pour sa supposée brutalité que pour son « manque » de connaissances scientifiques. Or, les séries montrent, non sans ironie, que cette période est pourtant étonnamment proche de nous lorsqu’il s’agit de gérer les épidémies. Toutes ces représentations trouvent une résonance forte avec la gestion de la crise sanitaire actuelle dans les pays occidentaux, malgré des moyens d’échange et d’action a priori plus efficaces qu’à la période médiévale. Comme dans ces séries, les autorités s’avèrent rapidement dépassées par l’épidémie, laissant place à une valorisation des individus plutôt qu’à l’action des gouvernements – pensons à la façon dont les soignants ont été applaudis quotidiennement durant le premier confinement en France. Par ailleurs, les personnages médiévaux sont présentés en victime de l’épidémie, à la fois par la maladie elle- même et par ses conséquences humaines, qui sont chaque fois gérées de façon émotionnelle, au risque de causer de plus grands dégâts : les séries médiévalistes s’accordent sur l’incapacité des protagonistes à intervenir pour s’opposer à la propagation de la maladie, ceux-ci ne tentant pas d’instaurer des mesures protectrices mais privilégiant toujours les réactions affectives suite à la perte d’êtres chers – permettant de fait de favoriser l’identification du spectateur contemporain. De même, ces derniers mois ont vu se multiplier les réactions émotionnelles intenses des individus, peut-être plus encore que les actions organisées et rationnelles – que ces réactions soient considérées comme positives (solidarité, dévouement, etc.) ou négatives (refus viscéral de porter un masque, etc.). Ces séries, pensées comme repoussoir pour ce qui est de la gestion des crises sanitaires, se révèlent donc en réalité bien plus proches de nos attitudes contemporaines que ce que nous aimerions penser. Sans chercher à tirer des enseignements sanitaires de ces programmes de fiction, il s’agira de montrer comment ces séries médiévalistes peignent la gestion difficile des épidémies en exacerbant les limites de la société médiévale – ignorance, manque de rationalité, voire violence –, et comment se faisant elles ont paradoxalement anticipé des réactions très contemporaines de gestion de la crise.
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"Leslie Marmon Silko, Ceremony, New York: Viking, 1977." In The Twentieth-Century American Fiction Handbook, 305–7. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444393675.ch60.

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"Jack Kerouac, On the Road, New York: Viking, 1957." In The Twentieth-Century American Fiction Handbook, 271–75. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444393675.ch53.

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"Don DeLillo, White Noise, New York: Viking Penguin, 1985." In The Twentieth-Century American Fiction Handbook, 320–23. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444393675.ch64.

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"John Steinbeck, The Grapes of Wrath, New York: Viking, 1939." In The Twentieth-Century American Fiction Handbook, 246–50. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444393675.ch48.

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Watt, Margrethe. "Gold Foil Figures and Norse Mythology: Fact and Fiction?" In Myth, Materiality and Lived Religion: In Merovingian and Viking Scandinavia, 191–221. Stockholm University Press, 2019. http://dx.doi.org/10.16993/bay.h.

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Emery, Jacob. "Versions of Possession." In The Vortex That Unites Us, 22–58. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501769382.003.0002.

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This chapter focuses on the trope of possession across the whole of modern Russian literature, from the early Romantic poetry of Konstantin Batiushkov to the contemporary fiction of Vladimir Sorokin. It cites Batiushkov's Scandinavian elegies, wherein the ghosts of Viking skalds dictate verses to their supposed successor, a Russian soldier poet who sojourned in Finland as a member of the occupying Russian Army. It also describes the structure of possession in which the wellspring of Russian poetry is located in the Scandinavian past and is superimposed on the structure of empire. The chapter mentions the demonic figures that visit Ivan Karamazov and Nikolai Stavrogin in Fyodor Dostoevsky's novels. marking the conflict between the irreconcilable universalizing ideologies of Orthodox mysticism and Enlightenment reason. It highlights the dystopian allegory by the early Soviet writer Sigizmund Krzhizhanovsky that probes the limits of the materialist position.
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Lindow, John. "Old Norse Mythology and Ideology (and Entertainment)." In Old Norse Mythology, 133–57. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190852252.003.0005.

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According an argument by Georges Dumézil, Ideological use of the mythology may go back to Indo-European times, and it certainly goes back to Viking and medieval Scandinavia, where a “ruler ideology” can be discerned within it. In early modern Denmark and Sweden, the mythology served to create great national pasts, and later it served the needs of national romanticism in Scandinavia and Germany. Later still it was appropriated and twisted by Nazi ideology and that of white supremacy. After WWII, leading fiction writers produced works inspired by it, such as Villy Sørensen (Ragnarøk, 1988) and A. S. Byatt (Ragnarök: The End of the Gods, 2011), who related eschatological themes to the world in which we live, and Neil Gaiman’s American Gods (2001) pits the old gods against the new “gods” of technology. Within pop culture the mythology reflects dominant social notions, and even the wonderful Danish cartoon series Valhalla (1979-2009) may be seen as exemplifying Danish values.
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