1. What genres do the following texts belong to?
Voluspa, Volsunga Saga, Beowulf, The Hobbit and Lord of the Rings.
Give some examples from these texts that support your identification (for example: "Voluspa is an example of the _____ genre, as the following references to gods from the poem illustrate: "Hear my words / you holy gods' (l.1) "By Odin's Will I'll speak the ancient lore" (l.3), etc).
2. What are some possible features of residual (or "secondary") orality preserved in Voluspa, according to the criteria Ong (1982) advances?
3. Identify a central incident that happens in at least four of the above texts, and discuss how it is both similar and different in each example (remember to site from the original texts).
4. How did Tolkien draw on the Old Norse and Old English texts in his Hobbit and Lord of the Rings fantasy novels? Provide some concrete examples.
5. Discuss how Tolkien's use of "tradition" (e.g. older literary sources) differs from the techniques and agendas of modernism (see Week 7 in your Reader).
6. What place do the old myths have in the modern world?
7. How does the film Beowulf and Grendel "problematise" the hero-myth of Beowulf ?
8. Discuss what you think any of these texts desire (in the sense of their intention, how they wish to be received, what pleasures they offer).
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ReplyDeleteWhat are some possible features of residual (or "secondary") orality preserved in Voluspa, according to the criteria Ong (1982) advances?
DeleteIn Ong’s (1982) work he uses the term secondary orality to mean a culture that is literate but manages to hold onto some of the characteristics of pre-literate society. As different cultures around the world have adopted literacy through differing periods of history, “secondary orality” has most obviously presented itself during the window of time after literacy has been introduced, but before it has become widespread or common enough to be available and influential to all individual members of said culture.
Side note: A good topic for a totally different discussion might be whether the internet has restored some features of orality to us… as the internet and its many realms often afford us to be aggregative and additive (Wikipedia), agonistically toned (youtube comments), participatory (Reddit, other message boards), homeostatic (perhaps in the way we can “flag” unwanted/dangerous material), evanescent (in the sense that sometimes a specific trail of links we follow can take us to a page of interesting content, only to be impossible to find agai n on a different occasion). Interesting, though not specifically relevant at this stage.
As for Voluspa, several passages identify this text as being composed in a secondarily oral culture. It begins “Hear my words”. Obviously, as a written text, the reader will not be hearing anything but the ambience of their physical location. The phrase itself is not outwardly agonistic, as it doesn’t necessarily compete (except perhaps with other texts you might consider reading), it does strive for an effect, and thus possesses an agonistic quality; it’s a command, something you would expect to be shouted, in order to gather listeners and participants. The text is aggregative in that it includes references to many characters and settings of Norse folklore. Here we read about Odin, Bur, the trees Ash and Embla, Hoenir, Lodur, Yggdrasil, “the three maidens”, “the Shores of the Dead”, Hel, Surt, Garm, Gnipa Cave, Hrym, “the world-girding Serpent”, Naglfar, Loki, Muspell, Byleist, Thor, and so on. As the text doesn’t include character biographies, the reader is expected to know these names as well as all the connotations attached to each. This gives the impression that the characters and settings have been collected, sort of compiled into this epic poem. This also serves as an example of Voluspa’s participatory nature. The audience’s previous knowledge is required to understand the tale to its fullest extent. Another example of how Voluspa engages participants lies in the first stanza: “Hear my words, you holy gods, great men and humble sons of Heimdall” inviting everyone from the humblest of men to the holiest of gods (Mountford, 2013) to gather around and “listen”.
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What place do the old myths have in the modern world? (part 1)
ReplyDeleteThe old Norse myths in their original contexts (Such as the Prose Edda, Poetic Edda) hold an important place today for several reasons…
1) as historic documents of pre-Christian thought
2) as an example of secondary orality
3) as the starting point of modern fantasy
Although it is this third point I wish to discuss here, I would like to make a brief note on the first two points. While these are important factors to consider, I am doubtful they are discussed widely outside of academic or theological contexts. Those concerned with the development of language in its written form will obviously hold these texts in high regard, as well as those interested in pre-Christian Europe. Perhaps more importantly are the myths significance in pop-culture. In 2013 the fantasy genre is as popular as ever, and additionally, fantastical elements present themselves far and wide outside of the typical realm of fantasy. Some examples of how these Norse myths have arisen in popular culture follow.
Comics – Marvel Comics debuted the character Thor in 1962. He gained popularity and eventually had his own title in 1966. He has been a mainstay of the Marvel Comics roster ever since, and Marvel’s Thor has recently been adapted into a major motion picture (which bought in slightly less than 450 million dollars at the box office). The character was based entirely upon the Norse god of the same name, creator Stan Lee (2002) stating of his inception: “How do you make someone stronger than the strongest person? It finally came to me: Don't make him human — make him a god… It might be fun to delve into the old Norse legends.” Marvel Comics rival DC Comics also had an incarnation of Thor, in Neil Gaiman’s popular series “The Sandman.” DC released Volume Four of the series in 1992, the arc was titled “Seasons of Mist” and featured Odin, Loki and Thor attempting to gain control of Hell (or Helheim as they call it) in order to avoid Ragnarok.
Literature – Perhaps the most widely known literary work to take influence from Anglo-Saxon and Norse mythology is J.R.R. Tolkien’s Lord of the Rings (which for space purposes here will encompass The Hobbit as well as the related sections contained within the Silmarillion). Tolkien scholar Michael D. C. Drout (2007) has stated that many of the dwarves names were taken from the Völuspa Saga (from the Elder Edda), and Gylfaginning (from the Prose Edda). Pivotal character Gandalf was named from the Old Norse term meaning “magic elf”. Further parallels include Frodo’s journey and subsequent entry to Morder, reminiscent of Hermod’s journey and entry into Hel. Another see’s similarities between Tolkien’s Balrog and the destruction of the Bridge in Moria and Norse mythology’s Surt and the destruction of Bifröst (the rainbow bridge between Midgard and Asgard). The degree to which Tolkien was influenced by these myths is huge and further comparisons lie outside my limit of time and space. Tolkien’s influence on subsequent works is enormous, and Lord of the Rings is considered by many to be one of the greatest texts ever composed.
(Part 2)
ReplyDeleteMusic – German composer Richard Wagner based his “Der Ring des Nibelungen” (The Ring of the Nibelung) on characters from the Norse sagas and the epic poem “Nibelungenlied” (The Song of the Nibelungs). The Ring of the Nibelung consists of four epic operas. The second of the four is known as “The Valkyrie”, the music of which is instantly recognizable (listen here), even for those without a taste for operatic or classical music. These operas have been performed and rerecorded ever since they were published in 1853, and not suprisingly, the plot revolves around a magic ring that has the power to rule the world. At the other end of the musical spectrum, Norse mythology is a recurring theme in alternative heavy metal genres. American band Manowar are a great example of this. Throughout their 30 year history and 12 studio albums, lyrical content consistently reinterprets and retells these old myths, moreso than any other lyrical theme they have dealt with. While Manowar have never achieved commercial success, they have sold over nine million albums to date, and possess a worldwide cult following who are collectively (and appropriately) referred to as “the Army of Immortals.”
Television – Obviously both Thor and the Lord of the Rings have been adapted into movies, so rather than look at film, I will look at a couple of TV shows which have involved mythological references. Firstly, Stargate SG-1 (popular sci-fi show that chronicles the exploration of space via a portal to other worlds) frequently featured a race of aliens known as “the Asgard” who in the series were actually the origin of Norse mythology. The show Supernatural (less popular sci-fi/fantasy show dealing with supernatural themes) presented a story arc featuring a character believed to be an incarnation of Loki. Local comedy/drama series The Almighty Johnsons depicts a family who are all reincarnations of Norse gods. The central protagonists finds out one his 21st birthday that he is Odin, and is presented with the task of keeping his family together despite their dysfunction and lack of control over their powers. The series has garnered quite a following and has aired in multiple countries abroad.
It might be worth noting, although unfortunately I won’t be elaborating on this idea, that the character of Loki and the event of Ragnarok have become cultural phenomena of their own. Loki (the trickster god) seems to be referenced almost infinitely, and Ragnarok reflects human’s persistent fears: of Armageddon (for the religiously inclined), global warming/climate change (for those that prefer science) and perhaps just the fear of death, which is at the very core of the human experience.
To conclude, Norse mythology has an important place in the public domain, not only due to the quality of these legends and stories, but also because of the richness of the characters. So many characters and events of these old myths are recycled and reincarnated because at their core they are good stories containing timeless lessons, themes and ideas. Perhaps this is a testament to how little humans have changed in the last thousand years, or perhaps we hold onto these stories because these are the stories humans have always been telling each other. The first written accounts of the stories involved the very first character archetypes, which may not have been invented by the Norse or the Anglo-Saxons, but were first given a name by them. Perhaps humans have always needed heroes, monsters and gods, and that’s why we’ve collectively held onto them.
References
DeleteDrout, M.D.C. (2007). J.R.R. TolkienEncyclopedia: Scholarship and Critical Assessment. Taylor & Francis Group, LLC.
Lee, S., & Mair, G. (2002). Excelsior!: The Amazing Life of Stan Lee. Fireside.
Lindemans, M. F. (2002). Hermod – Encyclopedia Mythica. Retrieved from http://www.pantheon.org/articles/h/hermod.html
Mountford, P. (2013). Lectures 2 & 3: 166101 Literature/Desire [Powerpoint slides]. Auckland, New Zealand: Auckland University of Technology.
Norse Mythology. (N.d.). Retrieved from http://www.sunnyway.com/runes/mythology.html
Ong, W.J. (1982). Orality and Literacy: The Technologizing of the Word. Routledge.
Terry, P. (trans). (1990, 1966). Poems of the Elder Edda. Philadelphia: University of Pennsylvania Press
Tolkien, J. R. R. (1954). Lord of the Rings. (Vols. 1-3). London: Allen & Unwin.
Very interesting post James. I think that Doctor Who the television show about the time travelling doctor would also be a good addition to your post as it also has quite a few mythological references. I thoroughly enjoyed reading your blog very informative.
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ReplyDeleteHey Rahel,
DeleteSome good points here. I like that you've identified the genre for each of the texts mentioned (a lot more difficult than it seems at first), but I think your comments would carry a bit more weight if you took a couple examples from the texts that demonstrate some characteristics of the genre they've been assigned.
Also, there was one thing I disagreed with. It's the last sentence you have here... "For most people they see the myths explained in these texts are a part if their culture as they were created in the places where their ancestors used to live." ... Which, and I'm sorry to nitpick, mostly comes down to your saying "most people". If you think about it, "most people" are NOT of Norse (or Celt or Anglo-Saxon or what have you) descent, and yet these myths are still widely acknowledged. So maybe what you meant is that most people acknowledge that these are part of that culture, and have a cultural significance?
Thank you James. Yes you are right at the time which you were reading this post I had not made my whole point. What you have stated is exactly what I was trying to convey. The Anglo Saxon's for example acknowledge these texts are part of their culture.
DeleteWhat genres do the following texts belong to?
ReplyDeleteThe fantasy seems to be a genre that is hard to define. Fantasy is a world that is mystical and is out of the ordinary in terms of being supernatural. The genre consists of having themes that include the supernatural and magic. Fantasy "contains elements that are not realistic". They may include "talking animals and magical powers,set in a medieval universe and possibly including mythical beings". Fantasy also has many sub genres and is not only limited to just one main genre. Some of them include "Comic fantasy, Dark fantasy, Fairy tale fantasy and Heroic fantasy" (Beukes) Lord of the rings belongs to the Fantasy genre.It's one filled with mystical creatures such as Gollum looks like something out of another world exactly the way intended for a fantasy genre. Magical and Mystical creatures like are a must in the Fantasy genre.
Voluspa belongs to the mythological poems.
Beowulf belongs to the Epic
The Hobbit belongs to the Fantasy Epic
Discuss what you think any of these texts desire (in the sense of their intention, how they wish to be received, what pleasures they offer).
I think that theses texts desire for the readers to be able to to involve themselves into the text and think of themselves being a part of that particular genre and immerse themselves into the text.
These texts have a mystical twist to them and is created to entice the readers to delve themselves into these worlds. It is crafted in a way in which it is meant to give pleasure to the readers. Richard Dyer a genre theorist debated that genres are pleasurable because they "offer the audience escapist fantasies into fictional worlds which remove boredom and pressures of reality". This is one of the main reasons that I believe what these texts truly have to offer. Fantasies such as Lord of the Rings must tends to intrigue those who use these texts. It creates a world that has magic and the impossible is possible and want to impact those who read the texts by making them excited and thrill them.
For particular people they already have a meaning and add to their culture.The Anglo Saxon's see these texts as a part of their culture. "Beowulf reflects many cultural values highly regarded by the Anglo-Saxons" They hold many cultural values such as Identity being a major value. "Nor have I seen a mightier man-at-arms on this than the one standing here: unless I am mistaken, he is truly noble. This is no mere hanger-on in a hero's armour" through this line in Beowulf we see the value of Identity being shown.
References
Beowulf. (n.d.). An introduction to Anglo-Saxon History, Culture and the Epic Poem Beowulf. Retrieved from http://www.gaston.k12.nc.us/schools/ashbrook/faculty/repaul/Course%20Outline%20and%20Syllabus/Beowulf.pdf
Beukes, L (2011). Science Fiction, Fantasy & Horror Sub-Genres. Retrieved from
https://www.worldswithoutend.com/resources_sub-genres.asp
British Metropolitan Academy. (2010-2011). OCR AS MEDIA STUDIES. Retrieved from
https://docs.google.com/document/d/1iNYm0TAPqmoEb3T7wUDcBDn0VRLfLQfKoRJ-2IRSWQo/preview
Readwritethink. (2006). Genre Characteristics. Retrieved from http://www.readwritethink.org/files/resources/lesson_images/lesson270/genre_sheet.pdf