Studies in Old Norse Literature – serie

Draws on Old Norse literary heritage to explore questions of emotion as both a literary motif and as a social phenomenon.Authors throughout history have relied on the emotional make-up of their readers and audiences to make sense of the behaviours and actions of fictive characters. But how can a narrative voice contained in a text evoke feelings that are ultimately never real or actual, but a figment of a text, a fictive reality created out of words? How does one reconcile interiority - a presumed modern conceptualisation - with medieval emotionality?The volume seeksto address these questions. It positions itself within the larger context of the history of emotion, offering a novel approach to the study of literary representations of emotionality and its staging through voice, performativityand narrative manipulation, probing how emotions are encoded in texts. The author argues that the deceptively laconic portrayal of emotion in the Icelandic sagas and other literature reveals an "emotive script" that favours reticence over expressivity and exposes a narrative convention of emotional subterfuge through narrative silences and the masking of emotion. Focusing on the ambivalent borders between prose and poetic language, she suggests that poeticvocalisation may provide a literary space within which emotive interiority can be expressed. The volume considers a wide range of Old Norse materials - from translated romances through Eddic poetry and Íslendingasögur (sagas of Icelanders) to indigenous romance. Sif Rikhardsdottir is Professor of Comparative Literature at the University of Iceland and Vice-Chair of the Institute of Research in Literature and Visual Arts.

A compelling argument that far from developing in a literary vacuum, saga literature interacts in lively, creative and critical ways with one of the central genres of the European middle ages.The relationship between that most popular of medieval genres, the saint's life, and the sagas of the Icelanders is investigated here. Although saga heroes are rarely saints themselves - indeed rather the reverse - they interact with saints in a variety of ways: as ancestors or friends of saints, as noble heathens or converts to Christianity, as innocent victims of violent death, or even as anti-saints, interrogating aspects of saintly ideology. Via detailed readings of a range of the sagas, this book explores how saints' lives contributed to the widening of medieval horizons, allowing the saga authors to develop multiple perspectives (moral, eschatological, psychological) on traditional feud narratives and family dramas. The saint's life introduced new ideals to the saga world, such as suffering, patience and feminine nurture, and provided, through dreams, visions and signs, ways of representing the interior life and of engaging with questions of merit and reward. In dialogue with the ideology of the saint, the saga hero develops into a complex and multi-faceted figure. Siân Grønlie is Associate Professor and Kate Elmore Fellow in English Language and Literature at St Anne's College, Oxford.

A full survey of the "Last Things" as treated in a wide range of Old Norse literature.The hope of salvation and the fear of damnation were fundamental in the Middle Ages. Surprisingly, however, this topic, as reflected in Old Norse literature, has received limited critical attention.This book addresses this lacunain the scholarship, from two major perspectives. Firstly, it examines how the twin themes of damnation and salvation interact with other more familiar and better explored topoi, such as the life-cycle, the moment of death, and the material world. Secondly, it looks at how issues relating to damnation and salvation influence the structure of texts, with regard both to individual scenes and poems and sagas as a whole. The author argues that comparable features and patterns reoccur throughout the corpus, albeit with individual variations contingent on the relevant historical and literary context. A broad range of the literature is considered, including Sagas of Icelanders, Kings' sagas, Contemporary Sagas, Legendary sagas and poems of Christian instruction. HAKI ANTONSSON is Senior Lecturer in Medieval Scandinavian Studies, University College London.

First full investigation of masculinities in Old Norse-Icelandic literature.Compared to other areas of medieval literature, the question of masculinity in Old Norse-Icelandic literature has been understudied. This is a neglect which this volume aims to rectify. The essays collected here introduce and analyse a spectrum of masculinities, from the sagas of Icelanders, contemporary sagas, kings' sagas, legendary sagas, chivalric sagas, bishops' sagas, and eddic and skaldic verse, producing a broad and multifaceted understanding of what it means to be masculine in Old Norse-Icelandic texts. A critical introduction places the essays in their scholarly context, providing the reader with a concise orientation in gender studies and the study of masculinities in Old Norse-Icelandic literature.This book's investigation of how masculinities are constructed and challenged within a unique literature is all the more vital in the current climate, in which Old Norse sources are weaponised to support far-right agendas and racist ideologies are intertwined with images of vikings as hypermasculine. This volume counters these troubling narratives of masculinity through explorations of Old Norse literature that demonstrate how masculinity is formed, how it is linked to violence and vulnerability, how it governs men's relationships, and how toxic models of masculinity may be challenged.

A comprehensive guide to a crucial aspect of Old Norse literature.We cannot read literary works without making use of the concept of genre. In Old Norse studies, genre has been central to the categorisation, evaluation and understanding of medieval prose and poetry alike; yet its definition has been elusive and its implications often left unexplored.This volume opens up fundamental questions about Old Norse genre in theory and in practice. It offers an extensive range of theoretical approaches, investigating and critiquing current terms and situating its arguments within early Scandinavian and Icelandic oral-literary and manuscript contexts. It maps the ways in which genre and form engage with key thematic areas within the literary corpus,noting the different kinds of impact upon the genre system brought about by conversion to Christianity, the gradual adoption of European literary models, and social and cultural changes occurring in Scandinavian society. A case-study section probes both prototypical and hard-to-define cases, demonstrating the challenges that actual texts pose to genre theory in terms of hybridity, evolution and innovation. With an annotated taxonomy of Old Norse genres and an extensive bibliography, it is an indispensable resource for contemporary Old Norse-Icelandic literary studies.

An innovative, interdisciplinary approach to the understudied Icelandic mappae mundi.The Icelandic mappae mundi (maps of the world), drawn between c. 1225 and c. 1400, are contemporary with the breathtaking rise of its vernacular literary culture, and provide important insights into the Icelanders' capacious geographical awareness in the thirteenth and fourteenth centuries. However, in comparison with those drawn elsewhere, among them the English Hereford mappa mundi, they have received little critical attention. This book explores the Icelandic mappae mundi not only for what they reveal about the Icelanders' geographical awareness, but as complex registers of Icelandic national self-perception and imagining, situating them in their various literary, intellectual, and material contexts. It reveals fully how Icelanders used the cartographic medium to explore fantasies of national origin, their political structures, and place in Europe. The small canon of Icelandic world maps is reproduced here photographically, with their texts presented alongside English translations to enable a wider understanding.

The adaptation of French texts into medieval Swedish reveals the progress of a Europe-wide literary culture.Translations of French romances into other vernaculars in the Middle Ages have sometimes been viewed as "less important" versions of prestigious sources, rather than in their place as part of a broader range of complex and wider European text traditions. This consideration of how French romance was translated, rewritten and interpreted in medieval Sweden focuses on the wider context. It examines four major texts which appear in both languages: Le Chevalier au lion and its Swedish translation Herr Ivan; Le Conte de Floire et Blancheflor and Flores och Blanzeflor; Valentin et Sansnom (the original French text has been lost, but the tale has survivedin the prose version Valentin et Orson) and the Swedish text Namnlös och Valentin; and Paris et Vienne and the fragmentary Swedish version Riddar Paris och jungfru Vienna. Each is analysed through the lens of different themes: female characters, children, animals and masculinity. The author argues that French romance made a major contribution to the Europeanisation of medieval culture, whilst also playing a key role in the formation of a national literature in Sweden.

An examination of what dialogues and direct speech in Old Norse literature can convey and mean, beyond their immediate face-value.The vast and diverse corpus of Old Norse literature preserves the language spoken not only by the Vikings, kings, and heroes of medieval Scandinavia but also by outlaws, missionaries, and farmers. Scholars have long recognized that the wealth of verbal exchanges in Old Norse sagas presents the modern reader with the opportunity to speak face-to-face, as it were, with these great voices of the past. However, despite the importance of verbal exchanges in the sagas, there has been no book-length study of discourse in Old Norse literature since 1935.This book meets the need for such a study by offering a literary analysis based on the adjacent field of pragmatic linguistics, which recognizes that speakers often rely upon cultural, situational, and interpersonal context to communicate their meaning. The resulting, context-dependent meaning often deviates from the base semantic and syntactical components of an utterance: speakers hedge, imply, deflect to save face, or obscure meaning to damage an opponent's self-worth. Saga writers, this book argues, were masters of this type of indirectness in speech. It aims therefore to unlock the depth and subtlety of discourse in Old Norse literature and to leave readers with an understanding of how principles of pragmatics were employed throughout the sagas. A wide body of Old Norse materials is examined, including some of the best examples of Íslendingasögur (sagas of Icelanders), such as Brennu-Njáls saga, Laxdœla saga, and Gísla saga Súrssonar, while also giving due attention to Konungasögur (kings' sagas), fornaldarsögur (legendary sagas), and other literature from the medieval North.

An examination of hagiographical traditions and their impact.Icelanders venerated numerous saints, both indigenous and from overseas, in the Middle Ages. However, although its literary elite was well acquainted with contemporary Continental currents in hagiographic compositions, theological discussions, and worship practices, much of the history of the learned European networks through which the Icelandic cult of the saints developed and partially survived the Lutheran Reformation remains obscure.The essays collected in this volume address this lacuna by exploring the legacies of the cult of some of the most prominent saints and holy men in medieval Iceland (the Virgin Mary along with SS Agnes of Rome, Benedict of Nursia, Catherine of Alexandria, Dominic of Caleruega, Michael the Archangel, Jón of Hólar, Þorlákr of Skálholt, Lárentíus of Hólar, and Guðmundr the Good), using evidence drawn from Old Norse-Icelandic and Latin hagiographic literature, homilies, prayers, diplomas, sacred art, place-names, and church dedications. By placing the medieval Icelandic cult of the saints within its wider European context, the contributions trace new historical routes of cultural transmission and define the creative processes of the accommodation and adaptation of foreign hagiographic sources and models in medieval and early modern Iceland. They provide a clear picture of an Icelandic hagiographic literature and culture that celebrates the splendour of the saints; they also show how an engaging literary genre, which became immensely popular on the island throughout the Middle Ages and beyond, was created.

This wide-ranging study offers a new understanding of Old Norse kinship in which the individual self was expanded to encompass its kin.Family interactions in Old Norse myth and legend were often fraught, competitive, even violent as well as loving, protective and supportive. Focusing particularly on intergenerational relationships in the legendary sagas, the Poetic Edda and Snorra Edda, this book reveals not only why ambivalence was so characteristic of mythic-heroic kinship relations but how they were able to endure, even thrive, in spite of such pressures. Close attention is paid to the way gender inflects the dynamic between parents and their children and to the patronymic naming system which prevailed in Old Norse society, while outdated assumptions about the existence of a special relationship between a man and his sister's son inherited from earlier Germanic society are reassessed for the first time in decades. What emerges from this wide-ranging study is a new understanding of Old Norse kinship as a dynamic transpersonal process rather than a presocial fact, in which the individual self was expanded to encompass its kin. Taking the lead from recent anthropological research into kinship and with exciting implications for our understanding of Old Norse personhood, emotions, and the life course, this book challenges its readers to rethink many of the basic ontological assumptions which they bring to their interpretations of Old Norse myth and legend.

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.

Argues for new models of reading the complexity and subversiveness of fourteen "post-classical" sagas. The late Sagas of Icelanders, thought to be written in the fourteenth and fifteenth centuries, have hitherto received little scholarly attention. Previous generations of critics have unfavourably compared them to "classical" Íslendingasögur and fornaldarsögur, leading modern audiences to project their expectations onto narratives that do not adhere to simple taxonomies and preconceived notions of genre. As "rogues" within the canon, they challenge the established notions of what makes an Íslendingasaga. Based on a critical appraisal of conceptualisations of canon and genre in saga literature, this book offers a new reading of the relationship between the individual, paranormal, and social dimensions that form the foundation of these sagas. It draws on a multidisciplinary approach, informed by perspectives as diverse as "possible worlds" theory, gender studies, and social history. The "post-classical" sagas are not only read anew and integrated into both their generic and socio-historical context; they are met on their own terms, allowing their fascinating narratives to speak for themselves.

Challenges the concept that the notorious horse penis is key to understanding the Tale of Vǫlsi, via the concept of the "paganesque".SHORTLISTED: The Katharine Briggs Award 2025A family of Norwegian pagans, stubbornly resisting the new Christian religion, worship a diabolically animated preserved horse penis, intoning verses as they pass it from hand to hand until King Olaf the Saint intervenes. This is the matter of the medieval Tale of Vǫlsi. Traditionally, it has been read as evidence of a pre-Christian fertility cult - or simply dismissed as an obscene trifle. This book takes a new approach by developing the concept of the "paganesque" - the air of a religious culture older than and inimical to Christianity. It shows how the Tale of Vǫlsi deploys a range of vernacular genres, from verbal dueling and mythological poetry to folk belief about milk-stealing witches and the reanimated dead, to create the flavor of paganism for a fourteenth-century Icelandic audience: an imagined paganism that has theological stakes as well as satirical bite. Throughout, the study challenges the notion that the horse penis is the key to understanding the narrative. Once the object is removed from the center of interpretation, the artistry and wit of the tale's "Paganesque" come fully into view.

Demonstrates the essential nature of biblical translation and adaptation to Old-Norse-Icelandic literature. The historical narratives of the Old Testament/Hebrew Bible have much in common with Icelandic saga literature: both are invested in origins and genealogy, place-names, family history, sibling rivalry, conflict and its resolution. Yet the comparison between these two literatures is rarely made, and biblical translations in Old Norse-Icelandic have been neglected as a focus of literary study. This book aims to redress this neglect. It shows how the likeness between biblical narrative and saga narrative has shaped the reception of the Old Testament in medieval Iceland, even through multiple layers of translation and exegesis. It draws on a wide variety of texts, including homilies, saints' lives, world histories, encyclopaedic works, and the biblical translations collectively known as Stjórn, to explore how medieval Icelanders engaged with Old Testament narrative in the light of their own vernacular tradition of storytelling. And above all, it argues that the medieval Icelanders understood and recognised in these well-known biblical stories a narrative art that was strikingly akin to their own.

A comprehensive study of the mortality of Norse gods, with close readings of the Prose Edda, Poetic Edda and Saxo Grammaticus' Gesta Danorum.Divinity usually implies immortality. The very phrase "gods and mortals" highlights an ontological gap between two distinct categories of existence: immortal deities and transient humans. This divide, however, does not hold true in the Scandinavian mythological tradition, where the gods themselves are mortal. This mortality is central to myths such as those of Baldr and of Ragnarøk, and affords the Norse gods narrative potential, that is unparalleled in other traditions, such as those inherited from antiquity. The first half of this study explores some salient consequences of this attribute, highlighting the striking anthropomorphism of the gods. The second half takes a more diachronic approach, examining the prehistory of the group of gods who became known as the Æsir and arguing that they developed from non-anthropomorphic divine forces shaped by and mobilized in ideologies of leadership and warfare in pre-Christian Northern Europe. By examining how divine mortality not only drives Norse mythic narratives but also reflects wider patterns of thought and belief, including early medieval theories of rulership and the sacralization of human excellence, this book reconsiders the boundaries between godhood and humanity in pre-Christian Scandinavia and, in doing so, questions what it means to be a god.

A comprehensive guide to a crucial aspect of Old Norse literature.We cannot read literary works without making use of the concept of genre. In Old Norse studies, genre has been central to the categorisation, evaluation and understanding of medieval prose and poetry alike; yet its definition has been elusive and its implications often left unexplored.This volume opens up fundamental questions about Old Norse genre in theory and in practice. It offers an extensive range of theoretical approaches, investigating and critiquing current terms and situating its arguments within early Scandinavian and Icelandic oral-literary and manuscript contexts. It maps the ways in which genre and form engage with key thematic areas within the literary corpus,noting the different kinds of impact upon the genre system brought about by conversion to Christianity, the gradual adoption of European literary models, and social and cultural changes occurring in Scandinavian society. A case-study section probes both prototypical and hard-to-define cases, demonstrating the challenges that actual texts pose to genre theory in terms of hybridity, evolution and innovation. With an annotated taxonomy of Old Norse genres and an extensive bibliography, it is an indispensable resource for contemporary Old Norse-Icelandic literary studies.

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.

Investigates how Old Norse myth, saga, and poetic traditions imagine human identity through encounters with animals, materials, and environments.What happens to the category of the "human" in a world where bodies shift shape, objects fuse with living beings, and identities slip between species? This book explores how thirteenth- and fourteenth-century Icelandic texts confront this question, treating transformation not just as a narrative device, but as a way of thinking about what people are and how they inhabit the world. From the fragmented and reassembled bodies in Snorra Edda to the intricate play between humans and things in skaldic verse and eddic riddles; from mind-altering acts of consumption in the Sigurðr-cycle to the sequence of limb-loss, prosthetic substitution, and reattachment in Egils saga einhenda ok Ásmundar berserkjabana - these works reveal a culture keenly attuned to bodily contingency and material entanglement. Tracing episodes and images of change across the corpus, including the wider lexicon of shapeshifting, the author presents a vision of medieval Icelandic thought creatively alive to the instability of human identity in its running negotiation with the nonhuman world.This book is available as Open Access under the Creative Commons licence CC BY-NC-ND. Funded by UK Research and Innovation (UKRI) and the Dorothea Coke Fund.