Norse Revival offers a thorough investigation of Germanic Neopaganism (Asatru) through an international and comprehensive historical perspective. It traces Germanic Neopaganism’s genesis in German ultra-nationalist and occultist movements around 1900. Based on ethnographic research of contemporary groups in Germany, Scandinavia and North America, the book examines this alternative Neopagan religion’s transformations towards respectability and mainstream thought after the 1970s. It asks which regressive and progressive elements of a National Romantic discourse on Norse myth have shaped Germanic Neopaganism. It demonstrates how these ambiguous ideas about Nordic myth permeate general discourses on race, religion, gender, sexuality, and aesthetics. Ultimately, Norse Revival raises the question whether Norse mythology can be freed from its reactionary ideological baggage.

This book offers a thorough investigation of Germanic Neopaganism (Asatru) through an international and comprehensive historical perspective. It traces Germanic Neopaganism s genesis in German ultra-nationalist and occultist movements around 1900. Based on ethnographic research of contemporary groups in Germany, Scandinavia and North America, the book examines this alternative Neopagan religion s transformations towards respectability and mainstream thought after the 1970s. It asks which regressive and progressive elements of a National Romantic discourse on Norse myth have shaped Germanic Neopaganism. It demonstrates how these ambiguous ideas about Nordic myth permeate general discourses on race, religion, gender, sexuality, and aesthetics. Ultimately, Norse Revival raises the question whether Norse mythology can be freed from its reactionary ideological baggage.

"The interest of a group of American writers in the Norse (Viking Age Scandinavians) began to develop in the late 1830s, reaching its high point at mid-century and tapering off after the Civil War as the members of the group neared the end of their careers (only one of the authors discussed, Julia Clinton Jones, joins the club at the end of the period)." "This period, defined as the original phase of the American discovery of the Norse, features two essayists, Emerson and Thoreau, who refer to the Norse in writing on a variety of topics. Fiction is represented by Melville alone (American writers of fiction like Stowe and Hawthorne shun the Norse). Neither the essayists nor Melville uses Norse themes as their primary subject. That is reserved for the poets: Lowell, Whittier, Taylor, Longfellow, and Julia Clinton Jones."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

This volume investigates the reception of a small historical fact with wide-ranging social, cultural and imaginative consequences. Inspired by Leif Eiriksson’s visit to Vinland in about the year 1000, novels, poetry, history, politics, arts and crafts, comics, films and video games have all come to reflect rising interest in the medieval Norse and their North American presence. Uniquely in reception studies, From Iceland to the Americas approaches this dynamic between Nordic history and its reception by bringing together international authorities on mythology, language, film and cultural studies, as well as on the literature that has dominated critical reception. Collectively, the chapters not only explore the connections among medieval Iceland and the modern Americas, but also probe why medieval contact has become a modern cultural touchstone.

An innovative and accessible overview of how ancient Scandinavians understood and made use of their mythological stories. Old Norse Mythology provides a unique survey of the mythology of Scandinavia: the gods Þórr (Thor) with his hammer, the wily and duplicitous Óðinn (Odin), the sly Loki, and other fascinating figures. They create the world, battle their enemies, and die at the end of the world, which arises anew with a new generation of gods. These stories were the mythology of the Vikings, but they were not written down until long after the conversion to Christianity, mostly in Iceland. In addition to a broad overview of Nordic myths, the book presents a case study of one myth, which tells of how Þórr (Thor) fished up the World Serpent, analyzing the myth as a sacred text of the Vikings. Old Norse Mythology also explores the debt we owe to medieval intellectuals, who were able to incorporate the old myths into new paradigms that helped the myths to survive when they were no longer part of a religious system. This superb introduction traces the use of the mythology in ideological contexts, from the Viking Age until the twenty-first century, as well as in entertainment.

Scandinavia is a region associated with modernity: modern design, modern living and a modern welfare state. This new history of modernism in Scandinavia offers a picture of the complex reality that lies behind the label: a modernism made up of many different figures, impulses and visions. It places the individuals who have achieved international fame, such as Edvard Munch and Alvar Aalto in a wider context, and through a series of case studies, provides a rich analysis of the art, architecture and design history of the Nordic region, and of modernism as a concept and mode of practice. Modernism in Scandinavia addresses the decades between 1890 and 1970 and presents an intertwined history of modernism across the region. Charlotte Ashby gives a rationale for her focus on those countries which share an interrelated history and colonial past, but also stresses influences from outside the region, such as the English Arts and Crafts movement and the impact of emergent American modernism. Her richly illustrated account guides the reader through key historical periods and cultural movements, with case studies illuminating key art works, buildings, designed products and exhibitions.