Van Coller, H. P.Raftery, M. M.Senekal, Burgert Adriaan2015-11-132015-11-132004-11http://hdl.handle.net/11660/1637English: 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.Afrikaans: Teoretiese deel: Die Middeleeuse Yslandse saga kan in verskillende kategorieë verdeel word, maar die bekendste kategorie is die Íslendingasögur en in hierdie studie word hierop gefokus. Dit is hoofsaaklik in die dertiende eeu op skrif gestel en sommige akademici (byvoorbeeld Sigurðsson, 2004) beweer dat dit op mondelinge vertellings gebaseer is. Gebeure wat beskryf word in die Íslendingasögur speel meesal af in die tiende- en vroeg elfde eeu en is op die geskiedenis van Skandinawië en Ysland gebaseer, veral op mense wat in daardie tyd deur hulle optrede 'n naam vir hulleself gemaak het. Die vertelstyl is eenvoudig en objektief: die verteller vertel die saga soos wat dit van buite waargeneem kon word en beskryf karakters derhalwe sonder om gedetaileerde karakterbeeldings te verskaf of hulle gedagtes pertinent neer te skryf. Dit is eerder hulle handeling en dialoog wat die karakters openbaar. Die sagas is nie moraliserend nie en verskil daarom drasties van ander Middeleeuse geskrifte. Daar word aangevoer dat die meerderheid van die kenmerke wat die sagas vertoon bepaal word deur die fokus op die karakter en die poging om 'n realistiese vertelling te skep. Hierdie fokus bepaal byvoorbeeld dat daar nie lang natuurbeskrywings voorkom of moraliserend vertel word nie: die verteller wil van sy karakters vertel eerder as om 'n boodskap tuis te bring of om "mooi" te skryf. Die poging om 'n realistiese vertelling te skep word onder andere uitgevoer deur alledaagshede te beskryf en 'n stem aan landbewoners te gee. Die Yslandse sagas hoort verder tot die Germaanse heroïese literatuur en karakters is helde wat binne die heroïese milieu funksioneer. 'n Verdere kenmerk van die Íslendingasögur is dat daar ook poësie voorkom wat meesal binne die skaldiese tradisie hoort. Om hierdie rede word Oud-Noorse poëtiese genres vlugtig behandel in die teoretiese uiteensetting en die kenmerke daarvan aangetoon. Die skaldiese poësie is die mees komplekse hiervan en terme soos kenning word daarom verklaar en geïllustreer aan die hand van geskikte voorbeelde. Die sagas gee laastens 'n blik op die Middeleeuse wêreld en veral op die Wiking Era en inkorporeer voor-Christelike tradisies en geloofspersepsies asook alledaagse realiteite wat help om argeologiese vondste te verklaar, soos byvoorbeeld die beskrywings van begrafnisse of skepe. Dit is 'n genre wat uitstaan binne die konteks van Middeleeuse Europese literatuur omdat dit weinig beïnvloeding deur kontinentale bronne vertoon en sodoende uniek is. Kreatiewe deel: Die teoretiese deel word opgevolg met 'n kreatiewe toepassing in die genre van die Íslendingasögur. Valgarðr Gunnvaldsson is 'n lid van die Noorweegse adelstand en die saga begin by sy grootvader, Aldúlfr, en dié se betrokkenheid by tiende-eeuse politiek. Valgarðr se familie veg in die meeste belangrike veldslae in Skandinawië in die tiende eeu en gaan op plundertogte in Europa, en die saga vertel van drie generasies wat hiermee bedrywig is. 'n Tweede familie wat figureer, is Þorvaldr se familie wat meesal handelaars is en nie by die politiek betrokke wil raak nie, maar uiteindelik het hulle geen keuse nie en veg ook met verloop van tyd saam met Valgarðr-hulle. Valgarðr trou met Þorvaldr se dogter, Guðríðr, en het later 'n dogter met die naam Áshildr by haar. Stelselmatig sterf elkeen rondom Valgarðr en hy emigreer saam met die twee Skotse weduwees (Kaðlin en Mýrún) na Groenland, van waar 'n paar ekspedisies na Amerika (Vínland) onderneem word. Op hierdie ekspedisies word kontak gemaak met die inheemse volke, maar uiteindelik word Valgarðr siek en keer terug na Noorweë om by sy familie begrawe te kan word. Deurgaans is daar 'n karakter in Valgarðr se lewe teenwoordig met die naam Þagall, maar sy ware identiteit, betrokkenheid en motivering bly vaag.enViking (víkingr)TransienceRevenge/feudPoetry (skaldic/eddic)Northern mythology/religionMedieval literatureSagas of the Icelanders (Íslendingasögur)Heroic literatureFatalismGermanic cultureIcelandic literature -- History and criticismSagas -- History and criticismDissertation (M.A. (Afrikaans and Dutch))--University of the Free State, 2004Old Norse literature -- History and criticismDissertationUniversity of the Free State