{"title":"Encounters at the Mound in Old Norse Literature: Dialogues between Landscape and Narrative","authors":"Adèle Kreager","doi":"10.5406/21638195.94.4.01","DOIUrl":null,"url":null,"abstract":"In Old Norse literature, landscape is a significant component of the grammar of a text. To take just three examples, consider Drangey in Grettis saga Ásmundarsonar: a sheer and unassailable island described as a “vígi” (Grettis saga Ásmundarsonar 1936, 218) [stronghold], where the outlaw Grettir makes his last stand. This “vígi” represents the ultimate topographical expression of Grettir’s progressive dislocation from society, a locus “symbolic of an incarcerated psyche” (Damico 1986, 11). Consider the body of water across which two hostile interlocutors hurl insults and negotiate identities in the eddic poem Hárbarðsljóð: “‘Hverr er sá karl karla / er kallar um váginn?’” (Hárbarðsljóð 2014, 389) [Who is that churl of churls who calls across the gulf?].2 This spatial threshold is structural to the speech-act that ensues, since it enforces verbal rather than martial combat. And consider the dynamic seascape of cliff, rock, and wave, conjured through cumulative kennings","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"94 1","pages":"399 - 430"},"PeriodicalIF":0.3000,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"SCANDINAVIAN STUDIES","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5406/21638195.94.4.01","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
Abstract
In Old Norse literature, landscape is a significant component of the grammar of a text. To take just three examples, consider Drangey in Grettis saga Ásmundarsonar: a sheer and unassailable island described as a “vígi” (Grettis saga Ásmundarsonar 1936, 218) [stronghold], where the outlaw Grettir makes his last stand. This “vígi” represents the ultimate topographical expression of Grettir’s progressive dislocation from society, a locus “symbolic of an incarcerated psyche” (Damico 1986, 11). Consider the body of water across which two hostile interlocutors hurl insults and negotiate identities in the eddic poem Hárbarðsljóð: “‘Hverr er sá karl karla / er kallar um váginn?’” (Hárbarðsljóð 2014, 389) [Who is that churl of churls who calls across the gulf?].2 This spatial threshold is structural to the speech-act that ensues, since it enforces verbal rather than martial combat. And consider the dynamic seascape of cliff, rock, and wave, conjured through cumulative kennings
在古挪威文学中,风景是文本语法的重要组成部分。举三个例子,看看格雷蒂斯传奇中的德拉盖:一个被描述为“维吉”(格雷蒂斯传奇,1936年218年)[据点]的纯粹而无懈可击的岛屿,不法分子格雷蒂尔在这里最后一次站起来。这个“vígi”代表了格雷蒂尔逐渐脱离社会的终极地形表达,这是一个“被监禁的精神象征”的场所(Damico 1986,11)。想想eddic诗歌Hárbarğsljóğ:“Hverr er sákarl karla/er kallar um váginn?”(Háerbarğsl jóabl 2014389)中,两个敌对的对话者在水体中辱骂和协商身份,因为它强制执行口头战斗而不是军事战斗。想想通过累积的kennings创造的悬崖、岩石和波浪的动态海景
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