Still, detailed questions on vocabulary or translating stave rhymes and quarrels between scholars did not influence the overall physical appearance of the editions, which is why I will not further address this topic in my thesis. Wherever a Nordic lord fought a battle on grey heath or blue billow, there was standing an Icelandic singer amongst the vanguard. They car- ried along the old treasures of their myths and legends, and they transmitted this memory firstly by means of oral traditions. In his preface, Studach locates the compiling of Co- dex Regius at the threshold between Paganism and Christendom.
They prove to be of old- heathen origin and of a pure, in the sense of dismembered, tradition. Heusler underlines the difference between Old Norse poetry and equivalent verse traditions from continen- tal Europe and Germany. The passion is boisterously bursting out of both gods and men. Hate and loving desire, fro- wardness, heroic pride, and grievance are manifested without any courtly moderation.
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An unbroken and unmastered inner world, just made for big deeds and tragic. At this point, I will not endeavour in presenting the basic arguments of book prose scholars and free prose scholars. Only sparse remnants of the poetry of our heathen ancestors escaped the obliteration of the unforgiving enemy [i. Christianity and church] of the German spirit and language. These lumps, though, prove beyond doubt that there once was a similar treasure even richer in precious gems. It is very likely that some parts of the Edda are maybe not translations but rather adaptions of former German songs.
An unspecific, uncharted fea- ture of German identity was believed to have been lost along the way, retained in Ice- land and waiting to be resurrected for the German people. Simrock puts it the following way: Almost only hints of the specific German form of Germanic beliefs have been handed down to us.
The loss of our pagan mythological and heroic legends is most deplorable, which must have contained the most vivid expressions of a primordial German worldview. A more Ibid. Although some parts of the Edda are purely north-Germanic, we still can approach many parts as common-Germanic, some as virtually German. We should not forget that a keener difference between the Germanic and the German developed not until post-heathen times.
Therefore, the Edda will, for all the Germanics and not least to us Germans, remain a holy book of a unique, abundant source for old-Germanic myths and legends and old Germanic gnomic poetry. The tracks this search left in the paratext are most spe- cific and symptomatic for German editions of the Poetic Edda. The more we progress in time the less we find explicit verbal expression of this quest for identity.
The editions of the latter half of the twentieth century level up with reasonable research, and the editions make clear in their prefaces that the poems of Codex Regius are an artwork of Icelandic culture with partly vague, partly tangible links to medieval German literature.
Chapters five and six will reveal that these projections moved camp and appeared instead on the outer parts of the book. They do, however, fulfil similar functions as prefaces, postfaces, or annotations on the poems. They are usually a part of the back matter and therefore play a role in the editions since they are another way of interpreting the Poetic Edda in the publishing process.
Additional material in the back matter is surprisingly scarce. The most common form is a glossary on key words and names that can be found in the editions of Schimmelmann , Simrock second edition, , Wolzogen , and Bergmann as well as in the Volksausgabe , the Genzmer edition by Kurt Schier , and the Sim- rock edition by Manfred Stange Only Gering and Krause employ an explicit bibliography on secondary literature. I should be noted, though, that some editions feature a quasi-bibliography in their prefaces in the form of a list of references.
Only few editors apply more extravagant means of explanatory material than the anno- tations provided in prefaces or postfaces. It presents the nine worlds of Nordic mythology correlating with one another; the different realms and their inhabitants are briefly mentioned in a chart left to the map. Majer appended fifteen tables on the family ties in Nordic mythology. Considering how ostentatiously the editors strove for a proper way to make the Poetic Majer , pp. If anything, hints as to the original pronunciations are given in the prefaces.
Although it is no part of additional material to eddic poetry, I want to mention that some editions feature advertising for other publications. Genette states that dedications were mostly meant to be a laudation or tribute to a patron or protector, even an indication of who had finan- cially backed the launching of the book.
With the nineteenth century, the economic as- pect of the dedication slowly disappears, and the dedication turns into a laudatory epis- tle; these partly extensive texts shrank up to what we know today as a short mention of the addressee or more precisely: By private I mean a person, known to the public or not, to whom a work is dedicated in the name of a personal relationship: Schimmelmann composed a clearly public dedication covering four pages.
He dedicates his work to his benefactors and colleagues, persons of academic and political back- ground, but also to all the readers. In honour and unforgettable memory of the immortal Eddar, the first author of this invalu- able book, I dedicate this incomparable survival of the assured teaching of God of our fore- fore- fore-fathers, the old Germans, the Pomeranians, the Vandals, the old Suevi, the Sem- nones etc.
The dedicatee is will- ingly or unwillingly assigned the above-mentioned role as a backing for the whole vol- ume. In both cases it is not perfectly clear whether the dedications are of private or public nature. Von der Ibid. In any case, the anonymity of the dedicatee makes this a private dedica- tion, too. The first edition is clearly dedicated to men that he calls friends, patrons, or sponsors. According to Genette, an epigraph is citation that is put ahead of a work or a part of a work.
Then again, the way sub- tle way it is embedded in the edition, this epigraph can be interpreted as a manipulative tool to set a pre-atmosphere that may influence the reader and his perception and inter- pretation of the book, long after he has left behind the preliminaries. The usual paratextual items of title pages are: All these are merely unremarkable ways of using the title page, and the frontispiece on the opposite side of the double page is usually left blank.
In some cases, these two pages stand out from the rest of the preliminaries by an artistic design, unusual features that appear in rare cases only, or simply by a more elaborate layout. Other title pages are either more complex, or they interact with the frontispiece. The title page of Schimmelmann , figure 1 is an outstanding example of former ways of book editing.
This custom originates in earlier times of book printing, as Genette indicates; later on, aspects of title pages were transferred to the frontispiece. In contrast to the Thule edition, where graphical aspects appear on the cover and in the preliminaries only, the Neckel edition creates a visual atmosphere by a blend of contemporary and Viking art that perpetuates throughout the book and thus keeps on influencing the reading experience.
Other ways of using the frontispiece and title page in order to introduce the timbre of the edition can be seen with the Schier editions and subsequent editions , Diederichs , the Stange editions and subsequent editions , and the recent edition of Hansen The frontispiece and title page in the Stange editions are slightly more demonstra- tive: In all of these cases, the frontispieces focus on the con- textual, cultural aspects of the Poetic Edda that are employed in order to set the reader into the proper mood.
In the edition of Legis , the function of title page and frontispiece is inverted, at least from the perspective of modern book printing. The frontispiece has the function of a title page, while the title page gives the information for the subordinate, multi-volume work.
The title page contains a large-scale photograph of Cf. Here, the illustrations seem to be intended to enhance the character of the adaptations. One of the Anaconda-editions has a blurb on the frontispiece probably due to a cover bound in unprintable leatherette. If used at all, most editions give the shortened title of the book; Genette states that the reasons behind this custom are unknown to him. Leaving behind the front matter of the editions, we finally touch the outside of the book.
In the classical period, book covers were meant and created only to protect the inside; bound in leather, the options for design were limited, until the introduction of card- board and linen at the beginning of the nineteenth century allowed more possibilities for design. A modern copy of a book with an appealing dust jacket is first and foremost designed to attract attention — and to turn a beholder into a buyer and a reader.
Instead, he discusses form and function of its precur- sor: Waschzettel in German is a sep- arately printed pull-out that usually addresses the critics and the press, informing them about the release and the content of the book. Genette argues that the paratextual elements of it have slowly been transferred to the blurb but lost some of its function by the middle of the twentieth century. Contextual knowledge on the Poetic Edda its history, content, poetic style, or the history of medieval Iceland substantiates the significance of the book and how a reader can benefit from it.
Descriptions like this are generally modest, yet they promote the quality and importance of a classic must-read. The content of the Poetic Edda is described in almost in every blurb with random references to the Codex Regius, but some blurbs are more specific than others. In all the editions of Krause, the blurbs simply describe the nature of Codex Regius, encouraging the reader to read the copy in his hands.
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Often, the comprehensive completeness of an edition is highlighted or the selection of poems is justified cf. This is the only edition known to me, where the text of the blurb extends from the front to the back flap instead of having two different texts on the two flaps. Biographical details on the translator seldom on the editor are used to highlight the trustworthiness and high quality of the book.
Substantiating the unique- ness and quality of a particular edition is important especially with books such as the Poetic Edda: The publishing house, therefore, needs to promote its edition without advertis- ing it excessively — naturally a tightrope walk. A selective reader is well aware of the conducive or deleterious effect that the quality of a translation can have on the reading pleasure. Very often the editions point out the extent of content in their particular edition, in both the selection of poems and the additional material.
Especially the marginalia cf. Sometimes stanzas or lines of eddic poetry are quoted, as well as statements by scholars and translators, basically anything that enhances the perceived value the Poetic Edda is applied in order to remind the reader of the renown of the Poetic Edda as literary heritage that no one should miss. This is especially true for younger editions: Apparently, advertising the Poetic Edda is accomplished more easily by taking a shortcut in terms of precise infor- mation. As noted in chapter four, pp.
Here are examples from three recent editions of Simrock: Fated battles are pictured in a enthralling way, and the customs and practices of the people are explained. The Edda counts among the most meaningful works of the Old Norse cul- ture. Therein, important sources of early German literature are preserved.
Despite its age of one thousand years, these poems have not forfeited their lusty power and density. It comprises the whole cosmos of Old Norse beliefs and poetry — mythological studies and heroic epic, gnomic and moral poems all together.
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The myth- ological and heroic poems of the Edda count among the most meaningful monuments of the Germanic literature. They draw a picture of a mythological cosmos, that is second to none in terms of picturesque abundance and eloquence, and it belongs to the locus communis of oc- cidental literature.
They contribute to a certain dramatic atmosphere and function as an introduction to the Poetic Edda. The use of lan- guage seems to re-create a certain eddic ambiance that is either expected by the reader or used by publishers to persuade the customer to buy and read a copy. Within this qua- si-vicious circle of fusty and rehashed common places, almost everything can be stated about the Poetic Edda that closely resembles the current knowledge, yet using words and phrases that are more appealing than simply acquainting the reader with the facts.
In both Eddas, old cosmic beliefs are contained. Precise nature observation, knowledge, his- tory and mankind run in it as well as fears, visions, a laconic cheerfulness — inventing sto- ries turns out to be the most felicitous way of picturing the world. It [the Poetic Edda] became the most significant heroic epic of courtly times and was consid- ered a German national epic for a long time.
Despite the ideological abuse it was consistent- Genzmer , front flap of dust jacket; cf. Finally, it should be mentioned here that advertising on front and back flaps or within the blurbs is also applied; it appears, however, in few cases only, and implies several of the above-mentioned facets. Only three editions advertise other publications. A Stange edition showcases a book on Germanic legends apparently prose adaptations and an encyclopaedia of Chinese mythology.
A name- less document can easily be named, renamed, misnamed and, along the way, labelled and tagged with attributes that never originally belonged to it. Genette points out three major functions of the title, which he takes from Charles Grivel: Genette mentions that the first point is obligatory, whereas the other two are not observable with every book.
A thematic title terms the subject, the content of the book, a rhematic title, on the other hand terms, the object or the form of the book; blends of both are possible, making the title more descriptive. These titles are more for the sake of identifying the book; they are thematic. In the course of time, the titles become more and more rhematic. In most cases, it seems to be a fair addendum that circumscribes the features of the particular edition.
Adaptations of old-Germanic mythological and heroic poems and the even more rhematic The old mythological and heroic epic composed anew in ten songs do not leave the holder of a copy in the dark about their nature. More descriptive and dusty phrases can be found earlier on with Studach and Legis both From the Germanic aeon: The above-mentioned intention to highlight the beneficial aspects of a book by means of the title apparently turns into the main motive for the choice of titles.
This use of language is very sug- gestive, implying that it would be almost unspeakable to turn away from a source of wisdom and knowledge especially in the nineteenth and the first half of the twentieth century, when questions of origin and identity were highly pervasive. Hansen ventures an even bolder title: The Germanic legends of the gods at first hand. Editions of eddic poetry are first and foremost labelled as something indigenous to the German people.
Die Frau als Naturwesen in der "Melusine" Thürings von Ringoltingen (German Edition)
Genette mentions a comparable mind game that titles occasionally play with connotations. Genette therefore ends with the conclusion that the title, as any paratextual means, can be an obstacle for the reception of a book, if misused. The mythological and heroic poems of the Elder Edda. Some final remarks on paratextual features of chosen titles need to be made in the case of the Poetic Edda. Genette mentions that a title can be fixed before the actual book has been written.
The title then functions as an incipit; the process of writing the book becomes self-sustaining. Changes of title leave traces in the paratext. Title and the public may reciprocally affect one another: Besides, Genette makes it clear that the addressee of the book is not automatically the addressee of the text. Not everyone buying a book actually reads it in the end. Therefore, the title addresses a quite diffuse group of people.
Genette compares the naming of a book with the baptism of a child.
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After the child has been named and baptised, the original motivations and the process of finding a name, become obsolete. Especially literary works like the Poetic Edda, the Epic of Gilga- mesh, the Nibelungenlied, and numerous others were transmitted either without the authors name or any author as an individual person at all. And in many cases, their titles never existed from their beginnings.
Genette also states, that the original motivations for a name will not later influence the usage of the name. This, too, is a questionable state- ment in general and especially with regard to the Poetic Edda and comparable pieces of Ibid. The main reason for this omission is obvious: Their artistic features were of minor importance and relatively uninteresting. I neither intend to expand his approach in this regard, nor do I want to get engaged into questions of the fine arts. The sheer con- sequences of applying the theories and approaches of art history — not to mention scholars of book science who have something to in this matter, too — would go beyond the scope of this thesis, to the point of creating a topic for another.
On the other hand, it seems unfitting to me to leave out the last step on the journey through the book from the inside out and not to touch graphic aspects at all.
The design of the covers is, as a matter of fact, a final — or first — step in interpreting a literary work and probably the most radical one, since it transgresses the borderline of the written word and forms an addi- tional threshold right in front — or right behind — the threshold of the paratext. Instead, I will let the covers speak for themselves. The covers of the editions can be divided in four groups. This does not mean that these editions need to be unimaginative as a conse- quence. The outline of the Thule edition is fairly subtle, artistic and minimalistic.
The two vol- umes are bound in cardboard; front and backside are covered with mottled paper in ochre and orange colour figure 14 and figure Both front and back cover bear en- circled, emblem-like imprints in metallic blue building a complementary colour scheme Cf. Both figures are fairly ornamental and patterned, blending typical attributes of both Art Nouveau and Art Deco.
These quasi-sigils suggest a link between historical fiction and fictional history comprised between two book cases, and the patterns for the emblem in the contemporary approaches of the art scene was supposedly attractive to the vanguard reader, expecting new perspectives on and interpretations of older traditions. The simple, iconic design dominates the outer appearance and is less representative of the content, at least in case of the edition of the Poetic Edda. All of the three Krause editions are part of a series, and they are clearly recognisable.
The design of the original Reclam edition in particular could not be more iconic to a German reader figure The edition from figure 70 states on the cover that it is part of something bigger, and the chosen title of the series — The Great Stories of Man- kind — substantiates the weighty character at first sight. The latest copy of Krause at Reclam is a hardcover edition within the series Reclam Bibliothek figure All editions are equipped with a dust jacket with horizontal stripes whose colour scheme varies form volume to volume. Its appearance suggests a modern, pragmatic approach: The cover does not foretell anything about the book itself except for the reliability that the series wants to present.
The typefaces are sometimes artistic, decorated with borders and symbols that do not distract from the words on the cover, which remain the main visual feature. The Volksausgabe is a good example of this group of editions. The simple cover design fits the approach of the edition that was intended to be a simplified version of the Thule edition.
The cover is wrapped in linen, the front says only Edda — written in Frak- tur — while the spine was the space used for artistic features figure The ornaments remind one of the frames on the title page and frontispiece of the Thule editions cf. The edition of Beyer is made in the same manner; the typeface probably an artistic typeface blending Fraktur with textualis is even larger and more elaborate figure In contrast, the editions of Gorsleben use a plain sans-serif Antiqua typeface that seems to be totally out of time figure 35; cf.
In all of these cases, the simplistic design leads the reader, undistracted, from the cover into the book itself, using one or two words embossed on the cover like a seal of quality. The same applies for the Monumentalausgabe , whose impressive design does not need anything more than a simple Edda figure Text-based cover designs become less usual in the latter half of the twentieth century, except for those published within the same series.
Two editions in the twenty-first century use title-focused covers again: Filigree, ornamental borders adorn and frame the title in the centre figure 67 and figure In both cases, the flowery frames neither suggest anything loosely connected to eddic poetry, nor indeed medieval art from Scandinavia, which makes it hard to determine why the publishers chose these designs.
Eddic poetry inspired art- ists to transform the content into other means of artistic expression. The application of contemporary art by Franz Stassen to the motifs of eddic poetry relocate the Poetic Edda in the present time and invite the reader to discover a book, that is not yet out-dated. Sharp forming and stylised objects hammer and serpent in a warm-cool con- trast may point to the special approach of this book, which was adapted and designed for an anthroposophic readership.
Other covers use the artwork of historical times. It can be assumed that the beholder immediately takes the illu- mination for authentic, medieval art that localises the Poetic Edda in a recognisable time. Another Anaconda edition from figure 74 shows a medieval artwork from France. Other editions picture artworks on eddic poetry produced after the Middle Ages.
The tenth edition of Stange and Simrock at Marixverlag shows a drawing by the famous British illustrator Arthur Rackham — from The female beauty on another recent Simrock edition is not clearly recognisable, and unfortunately, the pub- lisher does not provide further information on the cover figure It stands out for its format and its splendid cover figure 39 and figure The back cover is designed in the same style. The elabo- rate design of the cover does justice to the rich book and presents the Poetic Edda as a complex, intriguing cosmos that waits to be discovered.
Moreover, it can be assumed that the actual price for a copy of this edition — especially in times of war — turns its possession into a status symbol. The first editions of Stange and subsequent editions and a Schier edition of Genzmer published by Wilhelm Heyne Verlag show leaf v of Codex Regius at the front cover figure 59 and figure The Stange edition also has a picture of a gold bracteate from Skane, Sweden, and the back cover of the Genzmer edition bears a small photograph of a runestone as well as an emblem taken from the picture stone from Martebo, Gotland figure 63, p.
Once opened, it shows a larger part of a Viking wood carving figure It does not matter whether or not the items shown on the book covers are directly related to eddic poetry. What matters is their general place and time: Northern Europe in the Middle Ages. These evocations seem to be enough to justify their appearance on the book cover. Its content becomes subordinate beneath picturesque imaginations that satisfy a particular Nordic exoticism.
There are several as- pects that contributed to and shaped this reception and ultimately the editing work: Codex Regius seemed to suggest itself for a recollection of German tradition and culture in the nineteenth century and, thus, the Poetic Edda was turned into a tool that was applied, and later on distorted, to restore the self-esteem of a nation that — at least on the map — was not a nation, at all.
Though being quite dissimilar, the editions of the nineteenth century can be seen in the same light I have cast on them in this thesis. The same is true for the editions of the first half of the twentieth century. The other translations were bound to their time and ideolo- gy and became obsolete with the fall of the Nazi regime. Concerning the order of the poems, it may be a matter of respect for the work of Simrock and Genzmer to leave their pattern un- touched and there is no reason to categorically reject what once was a vital contribution.
Moreover, the differences in terms of the number of poems, especially with regard to Genzmer, make the editions appear more dissimilar than they really are and most certainly confuse the lay reader. Apparently, the exalted character of the older translations supports stereotypes on the pathos of the Poetic Edda and promotes a vintage, ahistorical, and stereotypical represen- tation on the outside of the book in modern times: Former questions of German identity that were discussed at length in the prefaces of early editions are now carried out on the cover.
The different blurbs, and in particular the chosen titles, build an area of conflict: The larger parts of modern covers, bearing artworks of different historical periods, are applied in order to construct and support a specific eddic ambiance, and they interact with titles that label eddic poetry with already existing ste- reotypes of heroism, pathos, and medieval exoticism. Other editions rather showcase historical artefacts of the culture the Poetic Edda emerged from.
In this manner, history and literature are brought under an uneven yoke that is deleterious to both of them. It is rather a matter of reaching the clientele who has different requirements when buying a book, and this certainly does not affect the Poetic Edda exclusively. At least in the case of the Poetic Edda, it can be argued that the intensity of its reception generated the amount and the persistence of stereotypical presentation. The actual content of eddic poetry and Nordic mythology partly degenerated from expert knowledge to commonplaces.
Ways of inter- preting the Poetic Edda turned into ways of how it was convenient and fashionable to see the Poetic Edda. The analysis of the paratexts showed that most of the ideas and ideals behind this process of simplification still exist to some degree in the contemporary dis- course, laymen and experts alike, and they seem to form a circular flow of expectations and stereotypes that continues to feed upon countless sources of various origin and reli- ability.
This quite alarming outcome poses a challenge to scholars but first and foremost it is a matter of responsible editing and publishing. Copyright free material is likely at risk to be neglected and presented in a way that satisfies a clientele instead of doing jus- tice to the original source. This ultimately leads to other questions and approaches that go beyond the scope of this thesis and request further research.
How attractive is attractive enough to move a cus- tomer to buy — and ultimately to read — a book? Judging from the covers, titles, and blurbs, it can be argued that it is often profit, which moves publishers to produce and edition of the Poetic Edda which has been garnished by perpetuating the stereotypes on Nordic mythology. An edition all spruced up may sell better with the laymen than a frugal, topical edition that barely looks interesting at all.
One could also presume that people may reject an overly serious edition because of its alleged high standards that intimidate and repel them from buying a book they do not feel fit to read. A case study with field research may shed light on how a book appeals to different people and for what reasons. Another aspect that could not be covered in this paper is the actual suc- cess of the particular editions as well as the economic factors of editing and ultimately selling a book.
Statistics on sales records may substantiate and illuminate which editions sell better than others and for what reasons. Applying tools like the SWOT analysis and comparable models may be helpful when investigating the interaction between publish- ing, marketing, and editing. Is it a question of persistent stereotypes that can never truly be overcome, because they are incessantly fed by multiple sources? And where does this leave the poems of Codex Regius?
The topic of this thesis demands to be discussed on a broader level. It would be benefi- cial to compare the editing process of the Poetic Edda in different countries and lan- guages.
Likewise, a comparison to other publications of Old Icelandic literature, par- ticularly Snorra Edda, could confirm and render more precisely the significance of par- atextual features mentioned in this thesis and thus illuminate the attitude and expecta- tion people have when dealing with this and comparable literature. The specifically German phenomenon of applying the Poetic Edda to the restoration of national identity can most likely also be observed with other sensitive works like the Nibelungenlied and thus further research with comparable approaches could render a more precise verdict on how literature, and other pieces of art, were utilised in Germany to convey — and to manipulate — feelings of national identity.
In any case, the reception of the Poetic Edda is still ongoing, and topoi of mythology continue to be absorbed and adopted by popular culture. Whether it is a movie by Marvel Studios or a pagan festival: The multiple, reciprocal influences of the media and the public are numerous and difficult to construe.
An interdisciplinary approach of compar- ative and cultural studies could do justice to this intriguing topic. In any case, the dis- covery of the multiverse of the Poetic Edda, its different realms and realities, is a vast space that is most intriguing and worth to be explored. The material has been scanned or photographed; labels used by the libraries, handwritten inscriptions, and the like could not be removed.
Front cover of Thule edition. Back cover of Thule edition. Frontispiece and title page, Thule edition vol II. Front side of dust jacket. Hauser [2nd edn]. Front cover and spine. Example page Genzmer , pp. Front cover and slipcase of the Monumentalausgabe. Spine of book and slipcase. Frontispiece and title page. Back panel of front flap with hole. Poems in tradition of Rask, Munch, and Holtzmann. Poems in tradition of Grundtvig, Hildebrand, and Gering. Poems in editions following the order of Codex Regius.
Poems in the editions of Wolzogen.
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Overview on the book design of the major editions. I refer tot he sixth edition from that has he same parametres in book design. Wilhelm Knapp Verlag, , p. Verlag Moritz Diesterweg, ; 4th edn, Altnordische Dichtung und Prosa, 2 Jena: Die Lieder der Edda, ed. Diederichs, ; 5th edn, ; 6th edn, Wilhelm Heyne Verlag, Johann Thomas Edlen von or several poems Trattnern, Volkslieder, 2 vols, trans. Die Edda-Lieder von den Nibelungen, ed. Lieder der alten Edda, ed. Mythologische Dichtungen und Lieder der Skandinavier, ed. Fundgruben des alten Nordens, 2 vols, ed.
Verlag von Wilhelm Nauck, II: Die Lieder der Edda von den Nibelungen, ed. Die deutsche Heldensage und ihre Heimat, ed. Zwei Lieder der Edda, trans. Aus Saemundar Edda hins Froda: Verdeutscht und den Formen moderner Poesie angepasst, ed. Die Weissagung der Seherin, ed. Das Goldene Hausbuch der Germanen: Vereinigung wissenschaftlicher Verlag, Das Hyndlalied aus der altnordischen Edda , ed.
Aus den Liedern der Edda, ed. Edda, 2 vols, ed. Franz von Bebenburg, Liederkreis nach der Edda Bonn: Verlag von adaptations Henry und Cohen, Baltzer, Eduard, Aus der Edda: Hugo, Heinrich, Die Worte der Wala: Grimm, Jabob and Wilhelm, Lieder der alten Edda, ed. Wobbermin, Wilhelm, Altgermanische Lebensweisheit: Kniekamp, Ernst, Altnordische Sagen: Verlag von Ludwig Schroeter, , I: Halbe, Georg, Die Edda: Verlag Blut und Boden, Litty, Charlotte, Die Edda: Verlag Freies Geistesleben, Altnordische Gedichte mythologischen und heroischen Inhalts, 2 vols, ed.
Gedichte mythologischen Inhalts Gedichte der Heldensage Untersuchungen und Texte, 9 Heidelberg: Text ; 2nd edn, ; 3rd edn, ; 4th edn, ed. Winter ; 5th edn, Mit historisch-kritischem Commentar, 2 vols, ed. Heidelberger Ausgaben zur Geistes- und Kulturgeschichte, 9 Heidelberg: Dafur werde ich erst versuchen, die Begriffe "Heldendichtung" und "Held" im allgemeinen, anhand von verschiedenen Beispielen der europaischen Heldendichtung, zu erlautern. Danach mochte ich die Unterschiede und Gemeinsamkeiten der islandischen Heldendichtung zur europaischen herausfinden.
Im zweiten Teil der Arbeit will ich die Ergebnisse auf zwei Heldenlieder des Codex Regius anwenden, namlich die "Atlakvioa in groenlenzka" und das "Hamoismal. Read more Read less. Applicable only on ATM card, debit card or credit card orders. Cashback will be credited as Amazon Pay balance within 10 days. Valid only on your first 2 online payments. Cashback will be credited as Amazon Pay balance within 10 days from purchase. Here's how terms and conditions apply. To get the free app, enter mobile phone number. See all free Kindle reading apps. Don't have a Kindle? Grin Publishing 14 August Language: Be the first to review this item Would you like to tell us about a lower price?