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Search Results (6)

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Keywords = Norse mythology

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11 pages, 241 KiB  
Article
Reviving Pagan Spirituality: A Manifesto
by Keith Parsons
Religions 2022, 13(10), 942; https://doi.org/10.3390/rel13100942 - 10 Oct 2022
Cited by 1 | Viewed by 2943
Abstract
Numerous contemporary neopagan movements are attempts to revive or reconstruct ancient religious belief and practice. For instance, the worship of the ancient Norse gods has been restored to Iceland by the Asatru Fellowship. In this essay, I defend neopagan movements against the charge [...] Read more.
Numerous contemporary neopagan movements are attempts to revive or reconstruct ancient religious belief and practice. For instance, the worship of the ancient Norse gods has been restored to Iceland by the Asatru Fellowship. In this essay, I defend neopagan movements against the charge that ancient spirituality cannot be recovered in identifiable form. I note that today’s dominant religions, such as Christianity, also face questions of the continuity of identity and argue that if such problems are tractable for current religions, then, in principle, they are resolvable for neopagans. I further argue that there are three broad themes of spirituality that are identifiable in ancient pagan religion, and that these are permanent possibilities recoverable by modern people. I also defend the relevance and importance of these themes. Full article
(This article belongs to the Special Issue Epistemic Issues in Non-classical Religious Belief)
16 pages, 3067 KiB  
Article
Interpretation of Map Symbols in the Context of Gamers’ Age and Experience
by Tymoteusz Horbiński and Krzysztof Zagata
ISPRS Int. J. Geo-Inf. 2022, 11(2), 150; https://doi.org/10.3390/ijgi11020150 - 21 Feb 2022
Cited by 9 | Viewed by 4839
Abstract
In this article researchers examined the differences that may characterise selected groups of gamers with regard to age and time spent on playing a survival game, Valheim, confronted with their interpretation of map symbols used in the game. The Valheim video game, which [...] Read more.
In this article researchers examined the differences that may characterise selected groups of gamers with regard to age and time spent on playing a survival game, Valheim, confronted with their interpretation of map symbols used in the game. The Valheim video game, which was released in early 2021, is a survival game set in a gameplay world inspired by Norse mythology. The authors of the article noted that the age factor and gaming experience may have different results in terms of the interpretation of cartographic products. The obtained data came from an online questionnaire. In the statistical analysis the authors employed the Pearson’s chi-squared test and the Benjamini–Hochberg procedure to find statistically significant differences between selected groups of respondents and their subjective interpretation of map symbols. Statistical analysis showed several differences and interesting relationships in the interpretation of symbols in relation to the age of the players and in the interpretation of symbols in relation to the time spent in the game. For future research, it is worth continuing towards researching new video games with existing cartographic products in order to investigate how games and players influence the culture in which they participate. Full article
(This article belongs to the Special Issue Cartography and Geomedia)
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16 pages, 292 KiB  
Article
Þingeyrar Abbey in Northern Iceland: A Benedictine Powerhouse of Cultural Heritage
by Gottskálk Jensson
Religions 2021, 12(6), 423; https://doi.org/10.3390/rel12060423 - 8 Jun 2021
Cited by 8 | Viewed by 3764
Abstract
Þingeyrar Abbey was founded in 1133 and dissolved in the wake of the Lutheran Reformation (1550), to virtually disappear with time from the face of the earth. Although highly promising archeological excavations are under way, our material points of access to this important [...] Read more.
Þingeyrar Abbey was founded in 1133 and dissolved in the wake of the Lutheran Reformation (1550), to virtually disappear with time from the face of the earth. Although highly promising archeological excavations are under way, our material points of access to this important monastic foundation are still only a handful of medieval artifacts. However, throughout its medieval existence Þingeyrar Abbey was an inordinately large producer of Latin and Icelandic literature. We have the names of monastic authors, poets, translators, compilators, and scribes, who engaged creatively with such diverse subjects as Christian hagiography, contemporary history, and Norse mythology, skillfully amalgamating all of this into a coherent, imaginative whole. Thus, Þingeyrar Abbey has a prominent place in the creation and preservation of the Icelandic Eddas and Sagas that have shaped the Northern European cultural memory. Despite the dissolution of monastic libraries and wholesale destruction of Icelandic-Latin manuscripts through a mixture of Protestant zealotry and parchment reuse, philologists have been able to trace a number of surviving codices and fragments back to Þingeyrar Abbey. Ultimately, however, our primary points of access to the fascinating world of this remote Benedictine community remain immaterial, a vast corpus of medieval texts edited on the basis of manuscript copies at unknown degrees of separation from the lost originals. Full article
(This article belongs to the Special Issue Medieval Monasticism in Northern Europe)
28 pages, 14604 KiB  
Article
Doorway to Devotion: Recovering the Christian Nature of the Gosforth Cross
by Amanda Doviak
Religions 2021, 12(4), 228; https://doi.org/10.3390/rel12040228 - 24 Mar 2021
Viewed by 4938
Abstract
The carved figural program of the tenth-century Gosforth Cross (Cumbria) has long been considered to depict Norse mythological episodes, leaving the potential Christian iconographic import of its Crucifixion carving underexplored. The scheme is analyzed here using earlier exegetical texts and sculptural precedents to [...] Read more.
The carved figural program of the tenth-century Gosforth Cross (Cumbria) has long been considered to depict Norse mythological episodes, leaving the potential Christian iconographic import of its Crucifixion carving underexplored. The scheme is analyzed here using earlier exegetical texts and sculptural precedents to explain the function of the frame surrounding Christ, by demonstrating how icons were viewed and understood in Anglo-Saxon England. The frame, signifying the iconic nature of the Crucifixion image, was intended to elicit the viewer’s compunction, contemplation and, subsequently, prayer, by facilitating a collapse of time and space that assimilates the historical event of the Crucifixion, the viewer’s present and the Parousia. Further, the arrangement of the Gosforth Crucifixion invokes theological concerns associated with the veneration of the cross, which were expressed in contemporary liturgical ceremonies and remained relevant within the tenth-century Anglo-Scandinavian context of the monument. In turn, understanding of the concerns underpinning this image enable potential Christian symbolic significances to be suggested for the remainder of the carvings on the cross-shaft, demonstrating that the iconographic program was selected with the intention of communicating, through multivalent frames of reference, the significance of Christ’s Crucifixion as the catalyst for the Second Coming. Full article
(This article belongs to the Special Issue The Many Faces of Faith: Celtic and Germanic Christianity in the Middle Ages)
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13 pages, 244 KiB  
Article
“But in the Thunder, I Still Hear Thor”: The Character Athelstan as a Narrative Focal Point in the Series Vikings
by Margaret Steenbakker
Religions 2021, 12(3), 203; https://doi.org/10.3390/rel12030203 - 18 Mar 2021
Viewed by 7018
Abstract
This article explores the way the character Athelstan serves as a narrative focal point in the popular television series Vikings. Using this series as its main case study, it addresses the question of the ways in which the character functions as a [...] Read more.
This article explores the way the character Athelstan serves as a narrative focal point in the popular television series Vikings. Using this series as its main case study, it addresses the question of the ways in which the character functions as a synthesis between the two opposing world views of Christianity and Norse religion that are present in the series. After establishing that Vikings is a prime example of the trend to romanticize Viking culture in popular culture, I will argue that while the character Athelstan functions as a narrative focal point in which the worlds can be united and are united for a while, his eventual death when he has reverted back to Christianity shows that the series ultimately favors Viking culture and paints a very negative picture of (medieval) Christianity indeed. Full article
(This article belongs to the Special Issue Contemporary Storytelling. Narrative Answers to Theological Questions in Popular Culture)
21 pages, 396 KiB  
Article
Do Thor and Odin Have Bodies? Superperception and Divine Intervention among the Old Norse Gods
by Declan Taggart
Religions 2019, 10(8), 468; https://doi.org/10.3390/rel10080468 - 6 Aug 2019
Cited by 2 | Viewed by 9405
Abstract
In Old Norse mythology, gods like Freyja, Odin, and Thor are usually characterized as human-like creatures: they walk and ride animals, eat, grow old, and even die. Was there more to conceptions of Old Norse gods than those anthropomorphic representations? This article presents [...] Read more.
In Old Norse mythology, gods like Freyja, Odin, and Thor are usually characterized as human-like creatures: they walk and ride animals, eat, grow old, and even die. Was there more to conceptions of Old Norse gods than those anthropomorphic representations? This article presents evidence that the gods of early Scandinavia were sometimes thought of as superperceiving and able to act in ways that defied the limitations of a physical body. It engages with and challenges theological correctness, a prominent theory in the Cognitive Science of Religion, to elucidate the sources of Old Norse religion and the cognitive and contextual foundations of the representations of gods encountered there. Following an examination of the mechanisms through which Old Norse gods’ superperception and disembodied action were narrativized and rationalized, the article concludes with a discussion of the consequences of non-anthropomorphic representations of the gods for understanding Scandinavian worshippers’ everyday religious life. Full article
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