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Literatura académica sobre el tema "Volsunga saga"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 28 de julio de 2024

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Artículos de revistas sobre el tema "Volsunga saga"

Fernández Moreno, Sergio. "La espada como símbolo del destino en la Vǫlsunga saga". Medievalia 54, n.º 2 (21 de junio de 2023): 79–105. http://dx.doi.org/10.19130/medievalia.2023.54.2/003x27so014.

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Si bien el género de las llamadas fornaldarsǫgur (‘sagas de los tiempos antiguos’) aparece en la Escandinavia cristiana de los siglos XII y XIII, lo cierto es que en estas narraciones en prosa los temas y motivos de la mitología y las antiguas leyendas escandinavas ocupan todavía un lugar fundamental. En concreto, la Vǫlsunga saga concede al destino y a la espada una importancia medular en relación con las hazañas e infortunios de los Volsungos, por lo que el propósito de este artículo es dilucidar en qué medida el relato traza una conexión simbólica entre esta arma y el porvenir de dos de sus protagonistas: Sigurðr y Brynhildr. En este sentido, el análisis del funcionamiento del destino en la narración, por un lado, y del significado familiar de la espada volsunga, por otro, permitirá concluir que esta arma funciona, en la saga, como un símbolo de la trágica y violenta separación de la pareja.

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Classen, Albrecht. "Kristen B. Neuschel, Living by the Sword: Weapons and Material Culture in France and Britain, 600-1600. Ithaca, NY, and London: Cornell University Press, 2020, xii, 223, 13 b/w fig., 4 color plates." Mediaevistik 34, n.º 1 (1 de enero de 2021): 345–47. http://dx.doi.org/10.3726/med.2021.01.53.

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Sometimes, serendipity rules, also in scholarship. For a few years now, the interest by a growing number of researchers has focused on the so-called Ding, the material objects in the medieval world, examining not just its physical nature, but its social, spiritual, religious, and other significance. Anna Mühlherr et al. edited a volume on Dingkulturen: Objekte in Literatur, Kunst und Gesellschaft der Vormoderne (2016); Warren Tormey published his article “Magical (and Maligned) Metalworkers: Understanding Representations of Early and High Medieval Blacksmiths,” in Magic and Magicians in the Middle Ages and the Early Modern Time, ed. A. Classen (2020); I published an article on the medieval sword, “Symbolic Significance of the Sword in the Hero’s Hand: Beowulf, The Nibelungenlied, El Poema de Mio Cid, the Volsunga Saga, and the Njál’s Saga. Thing Theory from a Medieval Perspective,” Amsterdamer Beiträge zur älteren Germanistik 80 (2020): 346-70; and Bettina Bildhauer published her Medieval Things (2020). This is now followed by a more historically grounded study by Kristen B. Neuschel, Living by the Sword. Her research is almost exclusively limited to English-language studies, a rather myopic approach.

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Classen, Albrecht. "Symbolic Significance of the Sword in the Hero’s Hand: Beowulf, The Nibelungenlied, El Poema de Mio Cid, Volsunga Saga, and Njál’s Saga". Amsterdamer Beiträge zur älteren Germanistik 80, n.º 3 (24 de noviembre de 2020): 346–70. http://dx.doi.org/10.1163/18756719-12340186.

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Abstract The medieval hero cannot be imagined without a significant sword. Swords often have names and a mysterious identity. Beowulf cannot kill Grendel’s mother with his own sword, but has to resort to some of the ancient weapons lying in her lair. In the Nibelungenlied, Siegfried’s sword gets into the hand of his nemesis, Hagen, after he has murdered him. Siegfried’s widow, Kriemhild, finally takes it from Hagen and decapitates him. This, however, means her own death. In the Old Spanish El Poema de Mio Cid, the protagonist conquers two most valuable swords, and he passes them on to his sons-in-law, although they prove to be unworthy of those gifts. In the final court trial, Rodrigo Diaz demands those two swords back from the villains, and he triumphs over them. Once he has the swords back in his possession, he can proceed and destroy his enemies in this trial. Swords are not simply weapons; they are synecdoches of the hero himself, and they have the power to sing before or during battle, which is often commented on in the Old Norse sagas. This article will examine how heroic poets treated the sword as a pars pro toto of the hero and hence as agents of superpower, exacting justice and providing honor.

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Zuseva-Ozkan, Veronika B. "Yevgeny Zamyatin’s “hypertext” about the female warrior. Article II". Tekst. Kniga. Knigoizdanie, n.º 28 (2022): 22–39. http://dx.doi.org/10.17223/23062061/28/2.

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The second article of the two-part cycle considers the most important element of Zamyatin’s “hypertext” about the female warrior, i.e., the tragedy Atilla. The author offers the genealogy of the play’s heroine, Il’degonda, from Brynhildr of the Poetic Edda and Wagner’s Brunnhilde to Ibsen’s Hjordis (The Vikings at Helgeland) and N. Gumilyov’s Lera (Gondla). The common elements of Atilla and variations of the story of the Nibelungs are analyzed in detail: the association with the Burgundian locus, the parallels between the main characters and wolves, the connection of the heroine to the mythologem of fate, her identification with the snake, the motif of the broken vow, the motif of flames. The specific correlation of two female characters in Atilla (Il’degonda and Kerka) is highlighted. It strongly resembles Ibsen’s “paired” heroines: demonic and idyllic, breaking the confines of gender stereotypes and “normative”, such as Hjordis and Dagny in Ibsen’s tragedy The Vikings at Helgeland based on the Volsunga saga. Together with the “Valkyric myth” and the archetypal story of Siegfried and Brunnhilde visible in the plot of Atilla, the genetic relationship between The Vikings at Helgeland and Atilla is described as highly probable. The analysis of the play shows that, though this type of heroine is represented in Atilla in a very elaborate way, it still begins to blur due to the non-canonic relationship between the female warrior and the chosen hero. This tragedy features almost all obligatory elements of the motif complex and the plot, which are characteristic for this heroine, but lacks the most important component, i.e., the heroine’s love for the “strong one”. While losing the ability to love the chosen hero, the heroine also ceases to conform to the heroic image of the female warrior. Il’degonda not only loves the character unequal to her in strength, namely, the cowardly Vigila, but also forgives him his shame (the corporal punishment which he chooses over death), which is unthinkable for a true female warrior. Moreover, Il’degonda herself not once succumbs to cowardice (which is impossible for the heroine of this type). Finally, she kills of the rebellious boy slave - an ambiguous act which undeniably goes beyond the heroic behavior. Thus, though elevated above other Atilla’s enemies, she is only half-“courageous” and half-“strong” - just the way she is made, in Zamyatin’s words, “of the same metal as Atilla” only “halfway”.

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Classen, Albrecht. "The Saga of the Volsungs, with The Saga of Ragnar Lothbrok. Trans., with intro., by Jackson Crawford. Indianapolis, IN, and Cambridge: Hackett Publishing, 2017, xxxiv, 147 pp., 1 map." Mediaevistik 31, n.º 1 (1 de enero de 2018): 418. http://dx.doi.org/10.3726/med012018_418.

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Old Norse sagas are simply in today, probably because they contain so much valuable and intriguing information about the world of the Icelanders and Vikings, and because they reflect deeply on mythological concepts and historical events, strongly colored by heroic deeds. This means that publishers of textbooks continue to demonstrate their willingness to produce English translations, such as the present one of The Saga of the Volsungs, which Jackson Crawford accompanies with a translation of The Saga of Ragnar Lothbrok. Henry Halliday Sparling (1890), Margaret Schlauch (1930), Ronald G. Finch (1965), Jesse L. Byock (1990 and 1999), and Kaaren Grimstad (2000), among others, had already offered English translations of the former, but none of them are listed by Crawford in his introduction. Translations into German, French, Italian, or other languages are also not considered, although there is a long tradition of comparable work that has been done many decades ago until today.

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Lionarons, Joyce Tally. "Vǫlsunga saga: The Saga of the Volsungs. Kaaren Grimstad". Speculum 78, n.º 1 (enero de 2003): 182–83. http://dx.doi.org/10.1017/s0038713400099322.

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Mikučionis, Ugnius. "The Hero and his Values". Scandinavistica Vilnensis, n.º 14 (27 de mayo de 2019): 87–110. http://dx.doi.org/10.15388/scandinavisticavilnensis.2019.5.

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In this article, I argue that the portrayals of Sigurðr Fáfnisbani as a hero that emerge from the narratives about the slaying of the dragon in the Prose Edda and in the Saga of the Volsungs are rather different. A hero’s essence is not only about what actions the hero performs or what physical qualities the hero possesses, but also about what choices he makes and what values he adheres to. Therefore, one has to investigate why Sigurðr chose to agree to slay Fáfnir in order to be able to judge how heroic this deed was – or was not. A comparative analysis of the two source texts shows that while the main motivating factor for Sigurðr in the Prose Edda version of the narrative is the prospect of gaining Fáfnir’s treasure, the version contained in the Saga of the Volsungs gives a completely different picture. Here, the main motivation arises from Sigurðr’s own desire to avenge those who had killed his father, Sigmundr. In order to be able to wreak his vengeance, Sigurðr needs a suitable weapon, a sword without equal. Since Reginn is extraordinarily zealous in inciting Sigurðr to slay Fáfnir, Sigurðr promises to do so in exchange for a sword that Reginn – who is a smith with supernatural, dwarf-like competences – has to fashion using all his skill and effort. Additionally, avenging the injustice suffered by Reginn seems morally right, and is compatible with Sigurðr’s plans. The prospect of acquiring a hoard of gold may have contributed to his resolution, but in the Saga of the Volsungs it is not the main motivating factor for Sigurðr.

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Bellairs, Jonathan. "The Saga of the Volsungs: With The Saga of Ragnar Lothbrok trans. by Jackson Crawford". Comitatus: A Journal of Medieval and Renaissance Studies 49, n.º 1 (2018): 265–68. http://dx.doi.org/10.1353/cjm.2018.0028.

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Bratton, Susan Power. "FROM IRON AGE MYTH TO IDEALIZED NATIONAL LANDSCAPE: HUMAN-NATURE RELATIONSHIPS AND ENVIRONMENTAL RACISM IN FRITZ LANG'S DIE NIBELUNGEN". Worldviews: Global Religions, Culture, and Ecology 4, n.º 3 (2000): 195–212. http://dx.doi.org/10.1163/156853500507825.

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AbstractFrom the Iron Age to the modern period, authors have repeatedly restructured the ecomythology of the Siegfried saga. Fritz Lang's Weimar film production (released in 1924-1925) of Die Nibelungen presents an ascendant humanist Siegfried, who dominates over nature in his dragon slaying. Lang removes the strong family relationships typical of earlier versions, and portrays Siegfried as a son of the German landscape rather than of an aristocratic, human lineage. Unlike The Saga of the Volsungs, which casts the dwarf Andvari as a shape-shifting fish, and thereby indistinguishable from productive, living nature, both Richard Wagner and Lang create dwarves who live in subterranean or inorganic habitats, and use environmental ideals to convey anti-Semitic images, including negative contrasts between Jewish stereotypes and healthy or organic nature. Lang's Siegfried is a technocrat, who, rather than receiving a magic sword from mystic sources, begins the film by fashioning his own. Admired by Adolf Hitler, Die Nibelungen idealizes the material and the organic in a way that allows the modern ''hero'' to romanticize himself and, without the aid of deities, to become superhuman.

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Tesis sobre el tema "Volsunga saga"

Amorim, Suenia de Sousa. "Mito, magia e religião na volsunga saga Um olhar sobre a trajetória mítica do heroi sigurd". Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/4224.

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Made available in DSpace on 2015-04-17T15:02:12Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2138488 bytes, checksum: ae66b185cc75f70b808098d2382ca914 (MD5) Previous issue date: 2013-07-31
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The epics are universal masterpieces, relentless expressions of the people‟s soul. In this way, we elected the Völsunga saga as a platform for apprehension of the Norse pre-Christian religious phenomenon essential aspects, since it presents elements such as: magic, belief in a inevitability of fate, constancy of premonitory dreams and the intervention of the mythical figure of Óðinn in its composition. As inherent to mythological construction, we identify the Hero aspect as fundamental component of this Scandinavian oral tradition.
Os épicos são obras primas universais, expressões inexoráveis da alma dos povos. Neste sentido elegemos a Völsunga Saga como plataforma para apreensão de aspectos essenciais do fenômeno religioso nórdico pré-cristão, uma vez que esta apresenta elementos tais como: magia, crença na inexorabilidade do destino, constância de sonhos premonitórios, além da intervenção constante da figura mítica de Óðinn em sua composição. Conforme inerente às construções mitológicas, identificamos aqui a figura do herói enquanto componente fundamental dessa tradição oral escandinava.

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Noll, Emma Marie. "The Saga of the Volsungs: Brynhild". Kent State University Honors College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1620658403762285.

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Aberl, Jessica. "Genre's Genders: The Transformation of Gudrun from The Poetic Edda to Volsungasaga". University of Toledo Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1481836342813156.

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Farnsworth-Everhart, Lauren. "The Death of All Who Possess It: Gold, Hoarding, and the Monstrous in Early Medieval Northern European Literature". Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619783734315379.

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Roscoe, Brett. "Sagacious Liminality: The Boundaries of Wisdom in Old English and Old Norse-Icelandic Literature". Thesis, 2014. http://hdl.handle.net/1974/12183.

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This dissertation examines the relationship between wisdom and identity in Old English and Old Norse-Icelandic literature. At present, the study of medieval wisdom is largely tangential to the study of proverbs and maxims. This dissertation makes wisdom its primary object of study; it sees wisdom not just as a literary category, but also as a cultural discourse found in texts not usually included in the wisdom canon. I therefore examine both wisdom literature and wisdom in literature. The central characteristic of wisdom, I argue, is its liminality. The biblical question “Where is wisdom to be found?” is difficult to answer because of wisdom’s in-between-ness: it is ever between individuals, communities, and times (Job 28:12 Douay-Rheims). As a liminal discourse, wisdom both grounds and problematizes identity in Old English and Old Norse-Icelandic literature. After a preliminary chapter that defines key terms such as “wisdom” and “wisdom literature,” I examine heroic wisdom in three characters who are defined by their wise traits and skills and yet who are ultimately betrayed by wisdom to death or exile. The implications of this problematic relation to wisdom are then examined in the next chapter, which analyzes the composition of wisdom in proverb poems. Like the wise hero, the poets represented in these poems blend their own voices with the voice of community, demonstrating that identity is open and therefore in need of constant revision. Next I examine how the liminality of wisdom is embodied in the figure of the wise monster, who negatively marks the boundaries of society and its desires. This then leads to a study of the reception of wisdom in chapter six, which focuses on instruction poems. Like narratives of wise monsters, these texts present lore as the nostalgic remnant of a tradition that defines identity, in this case the identity of a community. However, nostalgia assumes loss, and these texts also reveal an underlying fear that wisdom, the basis of the community’s identity, will be forgotten. Whether communal or individual, identity in this literature is both formed and threatened by liminal wisdom.
Thesis (Ph.D, English) -- Queen's University, 2014-05-08 15:35:46.885

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Hlavatá, Barbora. "W. Morrisovo dílo The Story of Sigurd the Volsung and the Fall of the Niblungs ve srovnání s J. R. R. Tolkienovým The Legend of Sigurd and Gudrún". Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-388176.

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This thesis focuses on the formal and stylistic analysis and comparison of two works written by English authors, namely William Morris' poem The Story of Sigurd the Volsung and the Fall of the Niblungs (1876) and J. R. R. Tolkien's poetic work The Legend of Sigurd and Gudrún (published posthumously in 2009) with respect to how each of these works deals with the original Old Norse motives which they are based on. Both Sigurd the Volsung and The Legend of Sigurd and Gudrún can be described as poetic adaptations of the Old Norse tale of Sigurd Fafnisbani, which is recounted in the Saga of the Volsungs and in a cycle of poems found in the Poetic Edda. Both Morris and Tolkien borrowed this story to use it in their own works, yet each of them treats it in a different manner. Therefore, not only do both of the works differ from the original Old Norse texts on multiple levels, but they also differ one from another. The differences between them can be traced in the metrical properties of the individual poems, for instance, or in the use of specific stylistic elements. From this, it can be inferred that although it was the goal of both authors to evoke the atmosphere of the legendary heroic past where Sigurd's story takes place, each of them attempts to do so in a different way. This is probably caused by...

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Libros sobre el tema "Volsunga saga"

Kaaren, Grimstad, ed. Vo̜lsunga sage =: The saga of the Volsungs : the Icelandic text according to MS Nks 1824 b, 4⁰. Saarbrücken: AQ-Verlag, 2000.

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L, Byock Jesse, ed. The Saga of the Volsungs: The Norse epic of Sigurd the Dragon Slayer. Berkeley: University of California Press, 1990.

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L, Byock Jesse, ed. The Saga of the Volsungs: The Norse epic of Sigurd the Dragon Slayer. Enfield Lock: Hisarlik, 1993.

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L, Byock Jesse, ed. The Saga of the Volsungs: The Norse epic of Sigurd the Dragon Slayer. London: Penguin, 1999.

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Beowulf. Volsunga Saga. Creative Media Partners, LLC, 2018.

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Volsunga Saga. Creative Media Partners, LLC, 2018.

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Weston, Jessie Laidlay, William Morris y James William Buel. Volsunga Saga. Creative Media Partners, LLC, 2018.

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Magnússon, 1833-1913 Eiríkr y William Morris. Volsunga Saga. Creative Media Partners, LLC, 2018.

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Weston, Jessie Laidlay, Rasmus Bjö Anderson y William Morris. Volsunga Saga. Creative Media Partners, LLC, 2018.

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Volsunga Saga. Creative Media Partners, LLC, 2018.

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Capítulos de libros sobre el tema "Volsunga saga"

Nordtorp-Madson, M. A. "Dress, Disguise, and Shape-Shifting in Nibelungenlied and Volsunga Saga". En Refashioning Medieval and Early Modern Dress, 45–58. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctvktrxcq.10.

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Nordtorp-Madson, M. A. "3 Dress, Disguise, and Shape-Shifting in Nibelungenlied and Volsunga Saga". En Refashioning Medieval and Early Modern Dress, 45–58. Boydell and Brewer, 2019. http://dx.doi.org/10.1515/9781787446168-009.

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Leeming, David. "Germanic Mythology". En From Olympus to Camelot, 101–22. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195143614.003.0006.

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Abstract The term Germanic mythology refers to the gods and heroes of European peoples that include Germans, Scandinavians, and Anglo-Saxons. These are people whose languages—one of which would evolve into Old English and then, with other influences, into Middle and Modern English—derive from the same Indo-European branch. Terms commonly applied to the most northern of the Germanic peoples are Norse and, during the ninth, tenth, and eleventh centuries, Viking. Germanic mythology has a certain unity of theme and narrative but reflects the conditions of several cultures “contaminated” in various degrees by surrounding realities. Thus, the Anglo-Saxon epic Beowulf in Old English contains elements of Germanic mythology, as do the later German epic the Nibelungenlied, the Scandinavian Volsunga Saga, and especially the Eddas of Iceland. But all these works bear the marks and influences of the Christian era in which they took literary form.

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"Völsunga saga (The Saga of the Volsungs)". En Primary Sources on Monsters, 93–100. ARC, Amsterdam University Press, 2018. http://dx.doi.org/10.1515/9781942401223-017.

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"THE SAGA OF THE VOLSUNGS". En The Saga of the Volsungs, 33–110. University of California Press, 2019. http://dx.doi.org/10.1525/9780520951518-003.

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"VÖLSUNGA SAGA (THE SAGA OF THE VOLSUNGS) — Selections". En Primary Sources on Monsters, traducido por LARISSA TRACY, 93–100. Arc Humanities Press, 2018. http://dx.doi.org/10.2307/j.ctvfxvckf.20.

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"EDDIC POEMS USED BY THE SAGA AUTHOR". En The Saga of the Volsungs, 123–24. University of California Press, 2019. http://dx.doi.org/10.1525/9780520951518-005.

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"INTRODUCTION". En The Saga of the Volsungs, 1–30. University of California Press, 2019. http://dx.doi.org/10.1525/9780520951518-001.

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"NOTE ON THE TRANSLATION". En The Saga of the Volsungs, 31–32. University of California Press, 2019. http://dx.doi.org/10.1525/9780520951518-002.

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"NOTES". En The Saga of the Volsungs, 111–22. University of California Press, 2019. http://dx.doi.org/10.1525/9780520951518-004.

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