Roy, Carrie. Practical Fastenings Of The Supernatural: Difference between revisions
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==Annotation== | ==Annotation== | ||
Carrie Roy examines ninth and tenth-century Scandinavian artifacts to reconstruct some elements of Norse paganism. Roy demonstrates the recurrence of binding motifs and the central importance of breath – equated with spirit or soul - in the artifacts considered. Roy focuses on metalwork, woodwork and textiles and analyses the artifacts both ‘structurally’ – that is, the techniques used to make them – and ‘suprastructurally’ – decoration placed on the completed objects. Roy points out the structural use of binding to create resilient objects in, for example, the meshing together of fibers to make strong felt, and the suprastructural binding motifs of the ‘gripping beast’ adornments found on metal brooches. These ‘gripping beasts’ are depicted grasping their own necks, simultaneously harnessing the powerful force of breath and threatening to let it burst forth, protecting the wearer. This supernatural significance of breath is also seen in such work-songs as ''Darraðarljóð'' of ''Njáls saga'', used both practically to help the weavers to concentrate on their work and supernaturally to ‘weave’ the power of spirit or soul into the finished object. Thus, binding served both sacred and secular purposes in medieval Scandinavian craft: ‘decorative’ suprastructural elements may also have been thought to serve a powerful protective function. Roy argues these artifacts give us insight into how the practitioners of pre-Christian Norse paganism may have conceived of their place in the world, with ‘secular’ activities such as smithing reflecting man’s capacity to harness the ‘sacred’ powers of nature and spirit through his actions. | |||
==Lýsing== | ==Lýsing== | ||
Texta vantar | Texta vantar | ||
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==References== | ==References== | ||
[[Njála,_157| Chapter 157]]: '''Þær kváðu vísur þessar''': "Pursuing the air/wind/breath concept, it has been suggested that work songs, perhaps not unlike ''Darraðarlióð'' from ''Njáls saga'' (ch. 157) …, were sung to help those engaged in textile processes rhythmically focus on work. In my opinion, the dual focus and motivational support of work songs is not certain, but certainly likely among the Norse and especially in the quiet, indoor setting of women’s textile work. Wind and air play important roles in various drying processes but perhaps also song and the breath that carries it has the potential to find its way — quite literally — into textile processes and a special place in the cosmological world view." (p. 202) | |||
==Links== | ==Links== | ||
* ''Written by:'' | * ''Written by:'' Anna McCully Stewart | ||
* ''Icelandic/English translation:'' | * ''Icelandic/English translation:'' | ||
[[Category:Njáls saga]][[Category:Njáls saga:_Articles]][[Category:Authors]][[Category:All entries]] | [[Category:Njáls saga]][[Category:Njáls saga:_Articles]][[Category:Authors]][[Category:All entries]] | ||
Latest revision as of 21:38, 29 January 2017
- Author: Roy, Carrie
- Title: Practical Fastenings Of The Supernatural
- Published in: Viking and Medieval Scandinavia 5
- Year: 2009
- Pages: 177-212
- E-text: Brepols
- Reference: Roy, Carrie. "Practical Fastenings Of The Supernatural." Viking and Medieval Scandinavia 5 (2009): 177-212.
- Key words:
Annotation
Carrie Roy examines ninth and tenth-century Scandinavian artifacts to reconstruct some elements of Norse paganism. Roy demonstrates the recurrence of binding motifs and the central importance of breath – equated with spirit or soul - in the artifacts considered. Roy focuses on metalwork, woodwork and textiles and analyses the artifacts both ‘structurally’ – that is, the techniques used to make them – and ‘suprastructurally’ – decoration placed on the completed objects. Roy points out the structural use of binding to create resilient objects in, for example, the meshing together of fibers to make strong felt, and the suprastructural binding motifs of the ‘gripping beast’ adornments found on metal brooches. These ‘gripping beasts’ are depicted grasping their own necks, simultaneously harnessing the powerful force of breath and threatening to let it burst forth, protecting the wearer. This supernatural significance of breath is also seen in such work-songs as Darraðarljóð of Njáls saga, used both practically to help the weavers to concentrate on their work and supernaturally to ‘weave’ the power of spirit or soul into the finished object. Thus, binding served both sacred and secular purposes in medieval Scandinavian craft: ‘decorative’ suprastructural elements may also have been thought to serve a powerful protective function. Roy argues these artifacts give us insight into how the practitioners of pre-Christian Norse paganism may have conceived of their place in the world, with ‘secular’ activities such as smithing reflecting man’s capacity to harness the ‘sacred’ powers of nature and spirit through his actions.
Lýsing
Texta vantar
See also
References
Chapter 157: Þær kváðu vísur þessar: "Pursuing the air/wind/breath concept, it has been suggested that work songs, perhaps not unlike Darraðarlióð from Njáls saga (ch. 157) …, were sung to help those engaged in textile processes rhythmically focus on work. In my opinion, the dual focus and motivational support of work songs is not certain, but certainly likely among the Norse and especially in the quiet, indoor setting of women’s textile work. Wind and air play important roles in various drying processes but perhaps also song and the breath that carries it has the potential to find its way — quite literally — into textile processes and a special place in the cosmological world view." (p. 202)
Links
- Written by: Anna McCully Stewart
- Icelandic/English translation:
