Odin S Ways

This book is about the Old Norse god Odin. It includes references to all occurrences of Odin in the Old Norse/Icelandic texts, including Saxo’s Gesta Danorum, the eddic poems, Snorri’s Edda, and Ynglinga saga and analyses the high medieval reception and literary representations of Odin rather than the religious character of the god. This is the only existing study of Odin in all the Old Norse/Icelandic texts and applies a contextual method: the different guises of Odin are studied on the basis of the various textual contexts and on their background in the literary and Christian intellectual milieu of the time. Contrary to existing studies, this method is non-reductive in that it does not aim at providing a synthesis about Odin’s original nature on the basis of the differing textual uses of Odin in the Middle Ages. The book argues that the perceived complexity of Odin, often highlighted in research, is first and foremost a function of the complex textual material spanning a wide variety of genres each with its particular literary conventions and of the reception of Odin in early modern and modern mythological studies.

This book is about the Old Norse god Odin. It includes references to all occurrences of Odin in the Old Norse/Icelandic texts, including Saxo’s Gesta Danorum, the eddic poems, Snorri’s Edda, and Ynglinga saga and analyses the high medieval reception and literary representations of Odin rather than the religious character of the god. This is the only existing study of Odin in all the Old Norse/Icelandic texts and applies a contextual method: the different guises of Odin are studied on the basis of the various textual contexts and on their background in the literary and Christian intellectual milieu of the time. Contrary to existing studies, this method is non-reductive in that it does not aim at providing a synthesis about Odin’s original nature on the basis of the differing textual uses of Odin in the Middle Ages. The book argues that the perceived complexity of Odin, often highlighted in research, is first and foremost a function of the complex textual material spanning a wide variety of genres each with its particular literary conventions and of the reception of Odin in early modern and modern mythological studies.

Odin's Way in the Modern World is a meditation on the Odinic path from one who has been dedicated to this god for decades. Beginning with such topics as Odin's heiti (or names), his relationship with women, and his never-ending quest for knowledge and power, the text delves into the hardships of serving Odin and the author's own long-term personal relationship with this complex deity. Drawing on examples from history and saga, he examines what being an Odinist meant to the ancient heathens, and then suggests how those who worship him now must adapt these core values to modern times, just as the god himself has changed over time. The book concludes with a series of runic poems in honor of the many aspects of Odin.

These twelve science-fiction short stories follow twelve individuals in a distant, or maybe not so distant, future. Each character is facing a challenge or choice that will change the course of their life, and might also affect the fate of humanity itself. Inspired by past and present science fiction masters like Ray Bradbury, Ursula K Le Guin, Arthur C. Clarke and Isaac Asimov, these short stories explore the human mind and the human condition in a future where space travel, cloning, genetic manipulation and other technological advancements affect the world and every human being in it. With evocative language, and a sharp focus on human strengths and frailties in the face of change, disaster, love, and loneliness, Odin's Eye explores both outer space, and the inner workings of the human mind.

Known by many names and with a wide array of characteristics Odin is a God who many people believe is just as active in the world today as he was a thousand years ago and more. A god of poetry he inspires us to create. A god of magic he teaches us to find our own power. A god of wisdom he challenges us to learn all we can. In this book you will find some of Odin's stories and history as well as anecdotes of what it can be like to honor him in the modern world.

An epic fantasy trilogy from Norway about thousand-year-old secrets, forbidden romance, and what happens to those who make a deal with the devil comes at last to the United States! "Blood magic, blackmail, and battle rock a rich world of fading magic to its core in this internationally bestselling Norwegian epic fantasy." - Publishers Weekly reviews Odin's Child I loved (Odin's Child) deeply from the first to the last word, and was instantly and thoroughly immersed. -- Laini Taylor, bestselling author of Daughter of Smoke and Bone. ...The story examines and upends everything its characters believe in, including their world, their history, their faith, and themselves, while intertwining elements of politics and Norse mythology with a side of forbidden romance. Kirkus Reviews The intrigue, scope, and depth of His Dark Materials, set in an immersive Nordic world as fierce and unforgettable as its characters. Rosaria Munda, author Fireborne/Flamefall - Aurelian Cycle The world building is stupendous. MidWest Book Review Imagine lacking something that everyone else has. Something that proves you belong to this world. Something so vital, that without it, you are nothing. A plague. A myth. A human.” Fifteen winters old, Hirka learns that she is an Odin's child – a tailless rot from another world. Despised. Dreaded. And hunted. She no longer knows who she is, and someone wants to kill her to keep it a secret. But there are worse things than humans, and Hirka is not the only creature to have broken through the gates… Odin’s Child is unique fantasy with Norse roots. An epic clash of xenophobia, blind faith and the right or will to lead. The first in a trilogy, Odin's Child is a thrilling modern fantasy epic.

The Avaldsnes Royal Manor project explores early kingship in Northern Europe, spanning the period c. AD–1320 AD. The principal case is the Norwegian kingdom and the core site is Avaldsnes near Haugesund, Western Norway. 9th–10th century skaldic poems as well as 13th century sagas implies that Avaldsnes was the principal Viking Age royal manor. The site has produced numerous exquisite gravefinds from the Roman period onwards. Among them are the third century Flaghaug grave and two ship graves from the late 8th century. Also, the Oseberg ship, excavated near Oslo, is now proven to have been built c. 820 near Avaldsnes. The Museum of Cultural History, University of Oslo, excavated the Avaldsnes settlement in 2011–12. A team of 23 scholars from prominent academic institutions, including the University of Cambridge and University College London, participate in the research. This first of two volumes contains their results regarding the manor and its setting on the island of Kǫrmt by the Norðvegr, the sheltered sailing route along the West-Scandinavian coast. Together, the chapters produce a detailed 1000-years’ history of a complex central-place area, its monuments and buildings, its activities and functions, its blooming and fading, and eventually its downfall in the 14th century.

This book is about the Old Norse god Odin. It includes references to all occurrences of Odin in the Old Norse/Icelandic texts, including Saxo's Gesta Danorum, the eddic poems, Snorri's Edda, and Ynglinga saga and analyses the high medieval reception and literary representations of Odin rather than the religious character of the god. This is the only existing study of Odin in all the Old Norse/Icelandic texts and applies a contextual method: the different guises of Odin are studied on the basis of the various textual contexts and on their background in the literary and Christian intellectual milieu of the time. Contrary to existing studies, this method is non-reductive in that it does not aim at providing a synthesis about Odin's original nature on the basis of the differing textual uses of Odin in the Middle Ages. The book argues that the perceived complexity of Odin, often highlighted in research, is first and foremost a function of the complex textual material spanning a wide variety of genres each with its particular literary conventions and of the reception of Odin in early modern and modern mythological studies.