This volume consists of 19 papers presented at the 16th International Conference on Historical Linguistics, which was held in August 2003 in Copenhagen and drew the largest number of participants and the widest array of languages that this important biannual conference has ever had. As with previous volumes, the papers selected cover a wide range of subjects besides the core areas of historical linguistics, and this time include studies on ethnolinguistics, grammaticalisation, language contact, sociolinguistics, and typology. The individual languages treated include Brazilian Portuguese, Chukchi, Korean, Danish, English, German, Greek, Japanese, Kok-Papónk, Latin, Newar, Old Norse, Romanian, Seneca, Spanish, and Swedish. The volume reflects the state of the art both empirical and theoretical — in Historical Linguistics today, and shows the discipline to be as flourishing and capable of new advances as ever.

Challenges the concept that the notorious horse penis is key to understanding the Tale of Vǫlsi, via the concept of the "paganesque". A 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.