Kirjahaku

A Store of Common Sense is the first comparative study in English of Old Icelandic and Old English wisdom poetry. It examines problems of form, unity, and coherence, and how the genre responds to social change, both reflecting and shaping the thinking of the communities which originate it. Carolyne Larrington analyses the differences between the pagan wisdom of Norse, ranging through everyday practical advice, rune magic, and spells, and the Christian, socially oriented ideals of Old English wisdom poetry, strongly rooted in Christian concepts of `natural' order and hierarchy in God's Creation. Close reading in primary texts, both runic and magical, lays bare the skilful, structural integration of pragmatic, social wisdom with other kinds of knowledge. The book explores the possibility of Christian influence on Norse texts and demonstrates the impact of Christian learning on the ancient pagan genre. The existence of a gnomic `key' in Norse and English narrative verse is also shown. Far from being platitudinous moralizing, the wisdom poets of the two literatures reveal themselves as comic, ironic, dramatic, and grandiose by turns, exploring a gamut of themes unequalled in any other genre of the period.

She sees, coming up a second time, earth from the ocean, eternally green; the waterfalls plunge, an eagle soars above them, over the mountain hunting fish. After the terrible conflagration of Ragnarok, the earth rises serenely again from the ocean, and life is renewed. The Poetic Edda begins with The Seeress's Prophecy which recounts the creation of the world, and looks forward to its destruction and rebirth. In this great collection of Norse-Icelandic mythological and heroic poetry, the exploits of gods and humans are related. The one-eyed Odin, red-bearded Thor, Loki the trickster, the lovely goddesses, and the giants who are their enemies walk beside the heroic Helgi, Sigurd the Dragon-Slayer, Brynhild the shield-maiden, and the implacable Gudrun. This translation also features the quest-poem The Lay of Svipdag and The Waking of Angantyr, in which a girl faces down her dead father to retrieve his sword. Comic, tragic, instructive, grandiose, witty, and profound, the poems of the Edda have influenced artists from Wagner to Tolkien and speak to us as freely as when they were first written down seven hundred and fifty years ago.

Carolyne Larrington has gathered together a uniquely comprehensive collection of writing by, for and about medieval women, spanning one thousand years and Europe from Iceland to Byzantiu. The extracts are arranged thematically, dealing with the central areas of medieval women's lives and their relation to social and cultural institutions. Each section is contextualised with a brief historical introduction, and the materials span literary, historical, theological and other narrative and imaginative writing. The writings here uncover and confound the stereotype of the medieval woman as lady or virgin by demonstrating the different roles and meanings that the sign of woman occupied in the imaginative space of the medieval period.Larrington's clear and accessible editorial material and the modern English translations of all the extracts mean this work is ideally suited for students. Women and Writing in Early Europe: A Sourcebook also contains an extensive and fully up-to-date bibliography, making it not only essential reading for undergraduates and post graduates but also a valuable tool for scholars.

Who were the Norse gods – the mighty Æsyr, led by Óðinn, and the mysterious Vanir? In The Norse Myths we meet this passionate and squabbling pantheon, and learn of the mythological cosmos they inhabit. Passages translated from the Old Norse bring this legendary world to life, from the myths of creation to ragnarök, the prophesied end of the world at the hands of Loki’s army of monsters and giants, and everything that comes in between: the problematic relationship between the gods and the giants, in which enmity and trickery are punctuated by marriages and seductions; the (mis) adventures of human heroes and heroines, with their family feuds, revenges, marriages and murders; and the interaction between the gods and mortals, as Óðinn, the Allfather, betrays his human protégés in order to recruit (dead) heroes for his army. Carolyne Larrington describes the myths’ origins in pre-Christian Scandinavia and Iceland, and their survival in artefacts and written sources, from Old Norse sagas and poems to the less approving accounts of medieval Christian writers. She traces their influences into the work of Wagner, William Morris and J.R.R. Tolkien, and even the recent Game of Thrones in the resurrection of the Fimbulvetr, or ‘Mighty Winter’.

A fresh look at the stories at the heart of Norse mythology, exploring their cultural impact right up to the present day. The heroes and villains of Norse mythology have endured for centuries, infiltrating art, opera, film, television and books, shape-shifting – like the trickster Loki – to suit the cultures that encountered them. Through careful analysis of the literature and archaeology of the Norse world, Carolyne Larrington takes us deep into the realm described in the Icelandic sagas, from the gloomy halls of Hel to the dazzling heights of Asgard. She expertly examines the myths’ many modern-day reimaginings, revealing the guises that have been worn by the figures of Norse myth, including Marvel’s muscled, golden-haired Thor and George R.R Martin’s White Walkers, who march inexorably southwards, bringing their eternal winter with them. This sophisticated yet accessible guide explores how these powerful stories have inspired our cultural landscape, from fuelling the creative genius of Wagner to the construction of the Nazi’s nationalist ideology. Larrington’s elegantly written retellings capture the essence of the original myths while also delving into the history of their meanings. The myths continue to speak to such modern concerns as masculinity and environmental disaster – after the inevitable, apocalyptic ragna rök, renewal comes from the roots of Yggdrasill, the World Tree.

Covering the earliest legends of trolls through to blockbuster movies, The Little Book of Trolls explores the fascinating history of one of folkloreâ??s most complicated creatures. This authoritative guide includes retellings of beloved and lesser-known troll tales, presented alongside beautiful historic artwork.

Whether they breathe fire from above, spit poison on the land, or cause churning maelstroms in the sea, dragons can be found lurking in the margins of illuminated legend around the world. Their global ubiquity means they have many guises: primordial chaos-monsters to the ancients, wise and auspicious guardians in East Asian tradition, formidable foes to be slain by saints and knights, comic companions in 19th-century children's literature, and stand-ins for aerial warfare in modern fantasy.The history of dragons is as slippery and twisting as their serpentine bodies; they are creatures constantly doubling back on themselves, shedding their dead skins for new, and coiling around our landscapes.Featuring: Dragons of the Ancient World, Bestiary Dragons, Flying and Fiery Dragons, Creeping Dragons, Water Dragons and Sea-Serpents, Saints and Dragons, Dragons from Around the World, and Contemporary Dragons.

In our modern age fairies are diminutive, winged spirits associated with the innocence of childhood, or else the brooding heroes of popular romantasy books. But the fairies of the British Isles have taken many guises. To the early Britons they were fallen angels or relegated pagan gods, denizens of a strange world parallel to our own. In whispered tales, they can be found orchestrating shipwrecks, blinding queens, kidnapping musicians for their secret revels, and luring human lovers into the greenwood with their seductive beauty and beguiling promises. Their changeability has made them mainstays of the fantasy genre: at once capricious and ethereal, wielding arcane laws to reward and exploit human nature, and dolling out blessings and curses in equal measure. From protective fairy godmothers to uncanny fairy changelings, and from Tam Lin to Tinkerbell, Carolyne Larrington unravels a plethora of fairy tales in this shimmering guide to the fae, accompanied with beautiful illustrations from the British Library collections.

In our modern age fairies are diminutive, winged spirits associated with the innocence of childhood, or else the brooding heroes of popular romantasy books. But the fairies of the British Isles have taken many guises. To the early Britons they were fallen angels or relegated pagan gods, denizens of a strange world parallel to our own. In whispered tales, they can be found orchestrating shipwrecks, blinding queens, kidnapping musicians for their secret revels, and luring human lovers into the greenwood with their seductive beauty and beguiling promises. Their changeability has made them mainstays of the fantasy genre: at once capricious and ethereal, wielding arcane laws to reward and exploit human nature, and dolling out blessings and curses in equal measure. From protective fairy godmothers to uncanny fairy changelings, and from Tam Lin to Tinkerbell, Carolyne Larrington unravels a plethora of fairy tales in this shimmering guide to the fae, accompanied with beautiful illustrations from the British Library collections.

Beyond its housing estates and identikit high streets there is another Britain. This is the Britain of mist-drenched forests and unpredictable sea-frets: of wraith-like fog banks, druidic mistletoe and peculiar creatures that lurk, half-unseen, in the undergrowth, tantalising and teasing just at the periphery of human vision. How have the remarkably persistent folkloric traditions of the British Isles formed and been formed by the identities and psyches of those who inhabit them? In her sparkling new history, Carolyne Larrington explores the diverse ways in which a myriad of imaginary and fantastical beings has moulded the cultural history of the nation. Fairies, elves and goblins here tread purposefully, sometimes malignly, over an eerie, preternatural landscape that also conceals brownies, selkies, trows, knockers, boggarts, land-wights, Jack o'Lanterns, Barguests, the sinister Nuckleavee, or water-horse, and even Black Shuck: terrifying hell-hound of the Norfolk coast with eyes of burning coal.Focusing on liminal points where the boundaries between this world and that of the supernatural grow thin those marginal tide-banks, saltmarshes, floodplains, moors and rock-pools wherein mystery lies the author shows how mythologies of Mermen, Green men and Wild-men have helped and continue to help human beings deal with such ubiquitous concerns as love and lust, loss and death and continuity and change. Evoking the Wild Hunt, the ghostly bells of Lyonesse and the dread fenlands haunted by Grendel, and ranging the while from Shetland to Jersey and from Ireland to East Anglia, this is a book that will captivate all those who long for the wild places: the mountains and chasms where Gog, Magog and their fellow giants lie in wait."

The debate and discussion around Game of Thrones has covered questions of climate issues, industrialization, and questions of power, sex and gender. But in this essential companion to both George R.R. Martin's novels and the HBO show, Carolyne Larrington explores how this remarkable universe was constructed from the actual Middle Ages. The book examines sigils, giants, dragons and direwolves in medieval texts; ravens, old gods and the Weirwood in Norse myth; and a gothic, exotic orient in the eastern continent, Essos. From the White Walkers to the Red Woman, from Casterly Rock to the Shivering Sea, this is an indispensable guide to the 21st-century's most important fantasy creation.

Over the last twenty-five years, the ‘history of emotion’ field has become one of the most dynamic and productive areas for humanities research. This designation, and the marked leadership of historians in the field, has had the unlooked-for consequence of sidelining literature — in particular secular literature — as evidence-source and object of emotion study. Secular literature, whether fable, novel, fantasy or romance, has been understood as prone to exaggeration, hyperbole, and thus as an unreliable indicator of the emotions of the past.The aim of this book is to decentre history of emotion research and asks new questions, ones that can be answered by literary scholars, using literary texts as sources: how do literary texts understand and depict emotion and, crucially, how do they generate emotion in their audiences — those who read them or hear them read or performed?

Central to the legends of King Arthur are the mysterious, sexually alluring enchantresses, those spellcasters and mistresses of magic who wield extraordinary influence over Arthur's life and destiny, bestriding the Camelot mythology with a dark and brooding presence. Yet until now no book has told their stories in depth. Carolyne Larrington brings these dangerous women fully and vibrantly to life. Here is Morgan-le-Fay, a complex sorceress of immense cunning and skill, immortalised by Helen Mirren's Morgana in John Boorman's film Excalibur. Here too are the mystical Lady of the Lake; the beguiling Viviane, Merlin's deadly nemesis; and Morgause, Queen of Orkney, mother to Mordred, Arthur's incestuously-conceived son and his bitterest foe. Echoing the search for the Grail by the Knights of the Round Table, Larrington takes her readers on an intriguing quest - to discover why, over the centuries, the Arthurian enchrantresses have continued to bewitch those caught in their seductive web. Whether chaste or depraved, necrophiliacs or virgins, benevolent or filled with hatred, the enchantresses are seen to represent a strain of female power that challenges male chivalric values from within. King Arthur's Enchantresses makes a unique contribution to writing on the Arthurian myths. It will intrigue and delight anyone with an interest in mythology, religion, cultural history and medieval literature.

'All men must die’: or ‘Valar Morghulis’, as the traditional Essos greeting is rendered in High Valyrian. And die they do – in prodigious numbers; in imaginatively varied and gruesome ways; and often in terror within the viciously unpredictable world that is HBO’s sensational evocation of Game of Thrones. Epic in scope and in imaginative breadth, the stories that are brought to life tell of the dramatic rise and fall of nations, the brutal sweeping away of old orders and the advent of new autarchs in the eternal quest for dominion. Yet, as this book reveals, many potent and intimate narratives of love and passion can be found within these grand landscapes of heroism, honour and death. They focus on strong relationships between women and family, as well as among the anti-heroes, the ‘cripples, bastards and broken things’. In this vital follow-up to Winter Is Coming (2015), acclaimed medievalist Carolyne Larrington explores themes of power, blood-kin, lust and sex in order to draw entirely fresh meanings out of the show of the century.

Everyone knows about Odin, the All-father, the one-eyed, all-seeing, powerful King of the Gods, presiding over his great hall Valhalla, surveying the nine realms and the billions of souls. He bears the pain of Ragnarok, the joy of travelling in disguise through Midgard and, shapeshifting in the dusk, joins his ravens in their flights across the mythic landscape. Featuring new stories from open submissions, this enthralling book reveals the larger-than-life tales of Odin and his kin, their adventures in the ancient and the modern world, with the gods, the giants, the valkyrie and the creatures of the epic Norse literature. Introductory essay by Charlie Shotton, and foreword by Dr Carolyne Larrington. The modern authors whose stories feature in this book are: K.S. Barton, Chris A. Bolton, Charlotte Bond, Gemma Church, Malina Douglas, Stephanie Ellis, Sebastian Gray, Derek Heath, Justin R. Hopper, Eric Kenron, Brandon Ketchum, Stephen Kotowych, Andy McLarnon, Parker M. O’Neill, John Possidente, Chris Shearer and Douglas Smith. About the series: Discover the mythology of humankind through its heroes, characters, gods and immortal figures. Myths, Gods & Immortals brings together the new and the ancient, familiar stories with a fresh and imaginative twist. Each book brings back to life a legendary, mythological or folkloric figure, with new stories alongside a comprehensive introduction which tells the original tales and emphasizes ancient and modern connections, tracing history and stories across continents, cultures and peoples. New and emerging writers from open submissions reveal hidden themes, casting fresh perspectives on well known stories, complementing the specially commissioned story of the origins and the cultural background from the era. The first titles are Medusa, Odin, Anansi and Circe.

A wideranging and groundbreaking investigation of the sibling relationship as shown in European literature, from 500 to 1500. The literature of the European Middle Ages attends closely to the relationship of brother and sister, laying bare sibling behaviours in their most dramatic forms as models to emulate, to marvel at or to avoid. The literary treatment of siblings opens up multiple perspectives on brothers' and sisters' emotions: love, hate, rivalry, desire, nurturing and ambivalence underlie sibling stories. These narratives are in turn inflected by rank, social context andmost crucially, gender. This book examines these sibling relationships, focusing on the important vernacular literatures of Iceland, France, England and Germany, and building on recent research on siblings in psychology, history and social science. Multiple and subtle patterns in sibling interaction are teased out, such as the essential sibling task of "borderwork" (the establishment of individuality despite genetic resemblance), and the tensions caused by the easy substitutability of one sibling for another in certain social situations. When the sibling bond is extended to the in-law relation, complex emotional, strategic and political forces and powerful ambivalences nuancethe relationship still further. Quasi-siblings: foster- or sworn-brothers complete the sibling picture in ways which reflect and contrast with the sibling blood-tie. Carolyne Larrington is a Fellow and Tutor in medieval English literature at St John's College, University of Oxford.

A wideranging and groundbreaking investigation of the sibling relationship as shown in European literature, from 500 to 1500. The literature of the European Middle Ages attends closely to the relationship of brother and sister, laying bare sibling behaviours in their most dramatic forms as models to emulate, to marvel at or to avoid. The literary treatment of siblings opens up multiple perspectives on brothers' and sisters' emotions: love, hate, rivalry, desire, nurturing and ambivalence underlie sibling stories. These narratives are in turn inflected by rank, social context andmost crucially, gender. This book examines these sibling relationships, focusing on the important vernacular literatures of Iceland, France, England and Germany, and building on recent research on siblings in psychology, history and social science. Multiple and subtle patterns in sibling interaction are teased out, such as the essential sibling task of "borderwork" (the establishment of individuality despite genetic resemblance), and the tensions caused by the easy substitutability of one sibling for another in certain social situations. When the sibling bond is extended to the in-law relation, complex emotional, strategic and political forces and powerful ambivalences nuancethe relationship still further. Quasi-siblings: foster- or sworn-brothers complete the sibling picture in ways which reflect and contrast with the sibling blood-tie. CAROLYNE LARRINGTON is a Fellow and Tutor in medieval English literature at St John's College, University of Oxford.

V knige rasskazyvaetsja o proiskhozhdenii skandinavskikh mifov i ikh vyzhivanii v razlichnykh pismennykh istochnikakh: ot sag do stikhov. Avtor proslezhivaet ikh vlijanie na tvorchestvo Vagnera, Tolkina, Martina i drugikh.4-e izdanie

Epopeja amerikanskogo pisatelja Dzhordzha R.R. Martina "Pesn lda i plameni" i ee ekranizatsija stali nastojaschim kulturnym fenomenom XXI veka i vdokhnovili uchenykh na vsevozmozhnye issledovanija. V etoj knige fentezi-mir Vesterosa rassmatrivaetsja s tochki zrenija istoricheskikh realij i folklora Srednevekovja. Ranee kniga vykhodila pod nazvaniem "Zima blizko. Srednevekovyj mir "Igry prestolov".

Over the last twenty-five years, the ‘history of emotion’ field has become one of the most dynamic and productive areas for humanities research. This designation, and the marked leadership of historians in the field, has had the unlooked-for consequence of sidelining literature — in particular secular literature — as evidence-source and object of emotion study. Secular literature, whether fable, novel, fantasy or romance, has been understood as prone to exaggeration, hyperbole, and thus as an unreliable indicator of the emotions of the past. The aim of this book is to decentre history of emotion research and asks new questions, ones that can be answered by literary scholars, using literary texts as sources: how do literary texts understand and depict emotion and, crucially, how do they generate emotion in their audiences — those who read them or hear them read or performed?