Margaret Clunies Ross – författare

The medieval Norse-Icelandic saga is one of the most important European vernacular literary genres of the Middle Ages. This Introduction to the saga genre outlines its origins and development, its literary character, its material existence in manuscripts and printed editions, and its changing reception from the Middle Ages to the present time. Its multiple sub-genres - including family sagas, mythical-heroic sagas and sagas of knights - are described and discussed in detail, and the world of medieval Icelanders is powerfully evoked. The first general study of the Old Norse-Icelandic saga to be written in English for some decades, the Introduction is based on up-to-date scholarship and engages with current debates in the field. With suggestions for further reading, detailed information about the Icelandic literary canon, and a map of medieval Iceland, this book is aimed at students of medieval literature and assumes no prior knowledge of Scandinavian languages.

I Hedniska ekon tar Margaret Clunies Ross sin utgångspunkt i modern social-antropologisk teori. Genom sin stora kunskap om de fornnordiska texterna vidgar Clunies Ross perspektivet för vår förståelse av de gamla myterna: av förhållandet mellan gudarnas och jättarnas värld, mellan natur och kultur, manligt och kvinnligt, ordning och kaos, liv och död. Myten tolkar samhället, samhället tolkar myten. Margaret Clunies Ross bok Hedniska ekon innebär en viktig vetenskaplig nyorientering och anses redan som ett genombrottsverk inom den fornnordiska mytforskningen. Margaret Clunies Ross är litteraturprofessor i Sydney, Australien, och en av vår tids mest framstående kännare av fornnordisk litteratur.

From the period of settlement (870-930) to the end of the fourteenth century, Icelanders produced one of the most varied and original literatures of medieval Europe. This is the first book to provide a comprehensive account of Old Icelandic literature within its social setting and across a range of genres. An international team of specialists examines the ways in which the unique social experiment in Iceland, a kingless society without an established authority structure, inspired a wealth of innovative writing composed in the Icelandic vernacular. Icelanders explored their uniqueness through poetry, mythologies, metrical treatises, religious writing, and through saga, a new literary genre which textualised their history and incorporated oral traditions in a written form. The book shows that Icelanders often used their textual abilities to gain themselves political and intellectual advantage, not least in the period when the state's freedom came to an end.

The medieval Norse-Icelandic saga is one of the most important European vernacular literary genres of the Middle Ages. This Introduction to the saga genre outlines its origins and development, its literary character, its material existence in manuscripts and printed editions, and its changing reception from the Middle Ages to the present time. Its multiple sub-genres - including family sagas, mythical-heroic sagas and sagas of knights - are described and discussed in detail, and the world of medieval Icelanders is powerfully evoked. The first general study of the Old Norse-Icelandic saga to be written in English for some decades, the Introduction is based on up-to-date scholarship and engages with current debates in the field. With suggestions for further reading, detailed information about the Icelandic literary canon, and a map of medieval Iceland, this book is aimed at students of medieval literature and assumes no prior knowledge of Scandinavian languages.

From the period of settlement (870-930) to the end of the fourteenth century, Icelanders produced one of the most varied and original literatures of medieval Europe. This is the first book to provide a comprehensive account of Old Icelandic literature within its social setting and across a range of genres. An international team of specialists examines the ways in which the unique social experiment in Iceland, a kingless society without an established authority structure, inspired a wealth of innovative writing composed in the Icelandic vernacular. Icelanders explored their uniqueness through poetry, mythologies, metrical treatises, religious writing, and through saga, a new literary genre which textualised their history and incorporated oral traditions in a written form. The book shows that Icelanders often used their textual abilities to gain themselves political and intellectual advantage, not least in the period when the state's freedom came to an end.

Accessible guide to and description of the medieval poetic tradition in Scandinavia.This is the first book in English to deal with the twin subjects of Old Norse poetry and the various vernacular treatises on native poetry that were a conspicuous feature of medieval intellectual life in Iceland and the Orkneys from the mid-twelfth to the fourteenth centuries. Its aim is to give a clear description of the rich poetic tradition of early Scandinavia, particularly in Iceland, where it reached its zenith, and to demonstrate the social contextsthat favoured poetic composition, from the oral societies of the early Viking Age in Norway and its colonies to the devout compositions of literate Christian clerics in fourteenth-century Iceland. The author analyses the two dominant poetic modes, eddic and skaldic, giving fresh examples of their various styles and subjects; looks at the prose contexts in which most Old Norse poetry has been preserved; and discusses problems of interpretation thatarise because of the poetry's mode of transmission. She is concerned throughout to link indigenous theory with practice, beginning with the pre-Christian ideology of poets as favoured by the god ódinn and concluding with the Christian notion that a plain style best conveys the poet's message. Margaret Clunies Ross is McCaughey Professor of English Language and Early English Literature and Director of the Centre for Medieval Studies at the University of Sydney.

First full analysis of the skaldic verse appearing in the family sagas of Icelanders, considering why and how it is deployed.Sagas of Icelanders, also called family sagas, are the best known of the many literary genres that flourished in medieval Iceland, most of them achieving written form during the thirteenth and early fourteenth centuries. Modern readers and critics often praise their apparently realistic descriptions of the lives, loves and feuds of settler families of the first century and a half of Iceland's commonwealth period (c. AD 970-1030), but this ascription of realism fails to account for one of the most important components of these sagas, the abundance of skaldic poetry, mostly in dróttkvætt "court metre", which comes to saga heroes' lips at moments of crisis. These presumed voices from the past and their integration into the narrative present of the written sagas are the subject of this book. It investigates what motivated Icelandic writers to develop this particular mode, and what particular literary effects they achieved by it. It also looks at the various paths saga writers took within the evolving prosimetrum (a mixed verse and prose form), and explores their likely reasons for using poetry in diverse ways. Consideration is also given to the evolution of the genre in the context of the growing popularity in Iceland of romantic and legendary sagas. A final chapter is devoted to understanding why a minority of sagas of Icelanders do not use poetry at all in their narratives.

A detailed literary study of fourteenth-century poetry composed in honour of a controversial thirteenth-century bishop.Vernacular poetry was a powerful influence in fourteenth-century Icelandic elite literary culture, even to the extent of providing the means of elevating a local bishop, Guðmundr Arason, to sainthood. Three Icelandic poets, Abbots Arngrímr Brandsson and Árni Jónsson, and Lawman Einarr Gilsson, composed impressive encomia of Guðmundr, with the intention of recording the holy bishop's sanctity in the language of contemporary religious devotion and to persuade Church authorities in both Scandinavia and the wider Christian world to canonize him. While the local campaign ultimately failed to sway the Catholic Church, it did succeed in producing a significant corpus of vernacular religious poetry, unmatched in combining the traditional diction and metres of Old Norse skaldic verse with the vernacular poetics of affective piety and Christian hermeneutics. This important group of poems is examined here for the first time as literary works. The manuscript context of the Guðmundr poetry is investigated in the first chapter. The next three chapters offer a detailed analysis of the poems themselves while the final chapters situate the Guðmundr poetry within the milieu of the vernacular learning that flourished particularly in mid-fourteenth-century Icelandic bishoprics and monasteries. They also explore the relationship between contemporary prose sagas of Guðmundr Arason and the poetry composed in his honour, which, it is argued, offers figural interpretations of the substance of the prose texts.