This wide-ranging study offers a new understanding of Old Norse kinship in which the individual self was expanded to encompass its kin.

Close examination of the significant theme of other-worldly encounters in Norse myth and legend, including giantesses, monsters and the Dead. A particular, recurring feature of Old Norse myths and legends is an encounter between creatures of This World [gods and human beings] and those of the Other [giants, giantesses, dwarves, prophetesses, monsters and the dead]. Concentrating on cross-gendered encounters, this book analyses these meetings, and the different motifs and situations they encompass, from the consultation of a prophetess by a king or god, to sexual liaisons and return from the dead. It considers the evidence for their pre-Christian origins, discusses how far individual poets and prose writers were free to modify them, and suggests that they survived in medieval Christian society because [like folk-tale] they provide a non-dogmatic way of resolving social and psychological problems connected with growing up, succession from one generation to the next, sexual relationships and bereavement.

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.g 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.g 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.g 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.

Through runic inscriptions and behind the veil of myth, Jesch discovers the true story of viking women.

One of a series about world myths and legends, this book describes the many myths associated with the Vikings. Through an examination of archaeological artifacts, history and literature, it reveals the ancient beliefs in the old Norse gods and the legends of the Viking world.

Whether they focus on Thor's powerful hammer, the mysterious valkyries, the palatial home of the gods - Asgard - or ravenous wolves and fierce elemental giants, the Norse myths are packed with vivid incident. But at the centre of their cosmos stands a gnarled old ash tree from which all distances and times are measured. When the old tree creaks, Ragnarok - the end of the world and of the gods themselves - is at hand. It is from this tree that Odin, father of the gods, hanged himself in search of the wisdom of the dead: a disturbing image of divine sacrifice far removed from the feasting and fighting of his otherworld home, Valhalla. This is the first book to show how the Norse myths have resonated from era to era: from Viking-age stories of ice and fire to the epic poetry of Beowulf; and from Wagner's "Ring" to Marvel Comics' "Mighty Thor". Heather O'Donoghue considers the wider contexts of Norse mythology, including its origins, medieval expression and reception in post-medieval societies right up to the present. "From Asgard to Valhalla" is a book that will intrigue and delight anyone with an interest in how the Norse myths have so profoundly shaped the western cultural heritage.

A fascinating and comprehensive A-Z guide to the myths and legends of northern Europe. Recounts the major sagas and legends, from Baldrs draumar to Volsunga saga. Describes the gods, goddesses, giants, dwarfs and other supernatural creatures of Northern myth. Details the cosmology of the Norse world, from Asgard, home of the gods, to Niflheim, the place of freezing mists, to Hel, the land of the dead. Explores a wide range of related topics, such as amulets, magic, runes, and the rite of the blood-eagle. It considers a wide range of historical and literary sources, from the Latin of Tacitus to the Icelandic of Snorri Sturluson.