{"title":"Aevum Menu: Myth \u0026 Religion \u003e Gods, Ritual \u0026 the Afterlife \u003e Gods, Heroes \u0026 Monsters","description":null,"products":[{"product_id":"iron-age-myth-and-materiality-an-archaeology-of-scandinavia-ad-400-1000","title":"Iron Age Myth and Materiality: An Archaeology of Scandinavia AD 400-1000","description":"\u003cp\u003eIron Age Myth and Materiality: an Archaeology of Scandinavia AD 400-1000 considers the relationship between myth and materiality in Scandinavia from the beginning of the post-Roman era and the European Migrations up until the coming of Christianity. It pursues an interdisciplinary interpretation of text and material culture and examines how the documentation of an oral past relates to its material embodiment.\u003c\/p\u003e\u003cp\u003eWhile the material evidence is from the Iron Age, most Old Norse texts were written down in the thirteenth century or even later. With a time lag of 300 to 900 years from the archaeological evidence, the textual material has until recently been ruled out as a usable source for any study of the pagan past. However, Hedeager argues that this is true regarding any study of a society’s short-term history, but it should not be the crucial requirement for defining the sources relevant for studying long-term structures of the longue durée, or their potential contributions to a theoretical understanding of cultural changes and transformation. In Iron Age Scandinavia we are dealing with persistent and slow-changing structures of worldviews and ideologies over a wavelength of nearly a millennium. Furthermore, iconography can often date the arrival of new mythical themes anchoring written narratives in a much older archaeological context.\u003c\/p\u003e\u003cp\u003eOld Norse myths are explored with particular attention to one of the central mythical narratives of the Old Norse canon, the mythic cycle of Odin, king of the Norse pantheon. In addition, contemporaneous historical sources from late Antiquity and the early European Middle Age - the narratives of Jordanes, Gregory of Tours, and Paul the Deacon in particular - will be explored. 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In Stephen Mitchell's \"Iliad, \"the epic story resounds again across 2,700 years, as if the lifeblood of its heroes Achilles and Patroclus, Hector and Priam flows in every word. And we are there with them, amid the horror and ecstasy of war, carried along by a poetry that lifts even the most devastating human events into the realm of the beautiful.\u003c\/p\u003e\u003cp\u003eMitchell's \"Iliad \"is the first translation based on the work of the preeminent Homeric scholar Martin L. West, whose edition of the original Greek identifies many passages that were added after the \"Iliad \"was first written down, to the detriment of the music and the story. Omitting these hundreds of interpolated lines restores a dramatically sharper, leaner text. 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Under the general editorship of Peter Burian and Alan Shapiro, each volume includes a critical introduction, commentary on the text, full stage directions, and a glossary of the mythical and geographical references in the play.\u003c\/p\u003e\u003cp\u003eAlthough it has been at times overshadowed by his more famous Oedipus Tyrannus and Antigone, Sophocles' Electra is remarkable for its extreme emotions and taut drama.\u003c\/p\u003e\u003cp\u003eElectra recounts the murders of Clytemnestra and Aegisthus by Clytemnestra's son Orestes, to avenge their murder of his father Agamemnon, commander of the Greeks at Troy, upon his return home. Sophocles' version is presented from the viewpoint of Electra, Orestes' sister, who laments her father, bears witness to her mother's crime, and for years endures her mother's scorn. Despite her overwhelming passion for just revenge, Electra admits that her own actions are shameful. 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