Masters Degrees (Afrikaans and Dutch, German and French)
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Browsing Masters Degrees (Afrikaans and Dutch, German and French) by Author "Raftery, M. M."
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Item Open Access Die Middeleeuse Yslandse saga: 'n kreatiewe Afrikaanse perspektief(University of the Free State, 2004-11) Senekal, Burgert Adriaan; Van Coller, H. P.; Raftery, M. M.English: Theoretical part The medieval Icelandic saga can be divided into various categories, but the most widely known category is the Íslendingasögur and it is on this that the focus of this study has fallen. It was committed to writing in mainly the thirteenth century and some scholars (for example Sigurðsson, 2004) allege that these writings are based on an oral tradition. Actions described in the Íslendingasögur take place in the tenth- and early eleventh centuries and are based on the history of the Scandinavian world and Iceland, and more specifically they are based on those people who established a name for themselves in this period. The narrative style is simple and objective: the narrator tells the saga as it would be perceived by an outsider and therefore depicts characters without detailed character sketches or by relating their thoughts. Rather are the characters revealed by their actions and dialogue. The sagas are not moralizing in character and therefore they differ considerably from other medieval literatures. It was argued in this study that the majority of characteristics exhibited by the sagas are determined by the focus on character and the attempt at creating a realistic narration. This focus on character determines for example that detailed descriptions of scenery and moralizations are omitted: the narrator strives to depict his characters rather than embedding his text with lessons in morality. The attempt at creating a realistic narration is established by incorporating scenes from their everyday lives and by not omitting the peasants or even slaves. The Icelandic sagas also belong to the Germanic heroic literature and its characters are heroes of this heroic milieu. A further characteristic of the Íslendingasögur is that poetry is also found which belongs mainly to the skaldic branch, and for this reason Old Norse poetical genres are briefly discussed in the theoretical discussion and its characteristics indicated. Skaldic poetry is the most complex of these and terms such as kenning are therefore explained and illustrated through suitable examples. Lastly the sagas offer a glimpse into the medieval world and especially the Viking Age and incorporate pre-Christian traditions and religious perceptions as well as everyday realities which aid the interpretation of archaeological finds, for example the descriptions of burials or ships. It is a genre which distinguishes itself within the context of medieval European literature for it exhibits little continental influence and thereby attains uniqueness. Creative part The theoretical part is followed by a creative application in the genre of the Íslendingasögur. Valgarðr Gunnvaldsson is a member of the Norwegian nobility by ancestral right. The saga begins with his grandfather, Aldúlfr, and his involvement in tenth century politics. Valgarðr's family fight in most of the important battles in tenth century Scandinavia and goes on raiding expeditions in Europe, and the saga tells of three generations involved in such activities. A second family which features is the family of Þorvaldr, who are mainly merchants not wanting to involve themselves in politics, but even they are offered no choice and eventually fight alongside Valgarðr and his companions. Valgarðr marries Þorvaldr's daughter, Guðríðr, and she later bears him a daughter called Áshildr. Gradually everyone around Valgarðr dies and he emigrates to Greenland along with the two Scottish widows (Kaðlin en Mýrún), from where they conduct a series of expeditions to America (Vínland). On these expeditions contact is established with the indigenous population, but eventually Valgarðr becomes ill and returns to Norway to be buried with his family. Throughout the saga a character named Þagall is present, but no-one ever understands his true identity, involvement and motivation.