Oldtidssagaernes Verden

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.

Beowulf may be the most important work in Old English literature, but the poem takes place in Denmark and southern Sweden. And it is Denmark where the poem was first published, and where some of the earliest literary criticism of the work saw the light of day.

Oldtidssagaerne var den første sagagenre, der udkom på tryk. I den politisk højspændte stemning i 1600-tallet blev de brugt som bevis for Danmarks og Sveriges ældgamle kongehuse. Svenskerne måtte basere deres argumenter på oldtidssagaerne, hvorimod danskerne også kunne bryste sig af Saxos Danmarkshistorie. Men Saxo havde allerede været hos islændingene: Størstedelen af hans ni første bøger er baseret på oldtidssagaer. I romantikken dyrkede man Nordens oldtid, og den fandt man i oldtidssagaerne. Nu ansås sagaerne som et ægte udtryk for nordisk ånd. Med kildekritikkens indtog begyndte puristiske læsere at stille spørgsmålstegn ved oldtidssagaernes historiske troværdighed. I 1900-tallet fik oldtidssagaerne igen fornyet aktualitet nu via fantasy-litteratur, særlig Tolkiens Ringenes herre og senere også TV-serierne Game of Thrones og Vikings, der blandt andet er baseret på oldtidssagaernes beretninger. I dag læser vi oldtidssagaerne som gode historier, ja, litteratur og som middelalderens reception af Nordens oldtid. I modsætning til de øvrige islandske sagagenrer fortæller oldtidssagaerne om en bred vifte af genderbendere, kvindelige oprørere og grænsebrydere af begge køn. I oldtidssagaerne møder vi valkyrier og møkonger, der frygtløst henter sværd i gravhøje på Samsø, magikyndige dværge i Århus, jyske skurke, drager, trolde, kæmper og bersærker, og mænd, der er så maskuline, at de helst vil undvære kvinder. Der er ondskab og underholdning med store armbevægelser, det er humor på højt plan, frækt og frivolt, men fortalt i sagaernes lakoniske stil. Sagaerne byder samtidig på fine psykologiske portrætter af misundelige fædre og endda beretninger om dysfunktionel ledelseskultur i Lejre. Oldtidssagaerne er eddadigtenes prosamodstykke, Beowulf på prosa, det er islandske sagaer inspireret af Sydens ridderromaner og Boccaccio iblandet ældgamle hjemlige fortællinger. Det er med andre ord en mangfoldig sagagruppe, skrevet fra slutningen af 1100-tallet og frem til 1400-tallet. I årene 2016-2019 udkom på Gyldendal for første gang nogensinde en samlet oversættelse af oldtidssagaerne til et moderne sprog. Vikinger og valkyrier: Oldtidssagaernes verden giver en grundig og underholdende indsigt i oldtidssagaernes verden og et kendskab til den kultur og tid, hvori sagaerne blev skrevet og til sagaernes grundlæggende temaer og verdensopfattelse. En sådan indføring er ikke hidtil blevet skrevet, hverken på dansk eller andre sprog.

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.

Peter Brandes is one of the most significant Danish visual artists alive today. He is represented in the collections of leading museums worldwide, including the Louvre, and is featured in the most important Danish museums. Peter Brandes' monumental sculptures and jars can be seen throughout Denmark, and he has decorated a number of Danish churches along with churches in Norway and the United States. In Jerusalem, Brandes' Isaac Vase, approximately five meters tall, stands at the Holocaust museum Yad Vashem. Peter Brandes' oeuvre is gigantic. It spans more than fifty years, and includes such varied forms of artistic expression as painting, sculpture, drawing, graphic art, ceramics, and not least photography and stained glass, for which he has developed new techniques. Dialogue with tradition-particularly the Jewish, Greek, and Christian traditions-runs throughout his work, marking Brandes as one of Denmark's foremost practitioners of cultural migration. Peter Brandes: Meridian of Art is the first monograph on the art of Peter Brandes. The book pursues a series of central themes that cut across Brandes' artistic production, connecting and traversing these with lines that the book's author, Ettore Rocca, calls the "meridian of art." The expression "meridian" is borrowed from the German poet Paul Celan, the author with whom Brandes has felt the greatest kinship throughout his career. For Celan, a meridian designates the indestructible, invisible line in a poetic conversation. Correspondingly, in the cultural migration that weaves throughout Brandes' art, Rocca finds a meridian that at once appears impossible and indestructible.

First Published in 2004. This book is both a survey of Danish prehistory and a detailed presentation of the problems, themes and literature of modern Danish archaeology. It was written to present a general survey of the prehistory of Denmark as it has emerged after the past decade of research. The book is composed of four sections: The hunters and gatherers, the first farmers, towards a new era and the chiefdom of the Iron Age. Each section includes chapters dealing with the environment, demography, subsistence patterns and social patterns. Each section is followed by a survey of the archaeological record for the period and a discussion of the relevant literature. The book concludes with a bibliography of approximately 700 titles covering most of the major Danish archaeological studies since about 1950.