A fresh examination of one of the most contentious issues in runic scholarship - magical or not? The runic alphabet, in use for well over a thousand years, was employed by various Germanic groups in a variety of ways, including, inevitably, for superstitious and magical rites. Formulaic runic words were inscribed onto small items that could be carried for good luck; runic charms were carved on metal or wooden amulets to ensure peace or prosperity. There are invocations and allusions to pagan and Christian gods and heroes, to spirits of disease, and even to potential lovers. Few such texts are completely unique to Germanic society, and in fact, most of the runic amulets considered in this book show wide-ranging parallels from a variety of European cultures. The question ofwhether runes were magical or not has divided scholarship in the area. Early criticism embraced fantastic notions of runic magic - leading not just to a healthy scepticism, but in some cases to a complete denial of any magical element whatsoever in the runic inscriptions. This book seeks to re-evaulate the whole question of runic sorcery, attested to not only in the medieval Norse literature dealing with runes but primarily in the fascinating magical texts of the runic inscriptions themselves. Dr MINDY MCLEOD teaches in the Department of Linguistics, Deakin University, Melbourne; Dr BERNARD MEES teaches in the Department of History at the University of Melbourne.
Punk Rock examines the history of punk rock in its totality. Punk became a way of thinking about the role of culture and community in modern life. Punks forged real alternatives to producing popular music and built community around their music. This punk counterpublic, forged in the late Cold War period, spanned the globe and has provided a viable cultural alternative to alienated young people over the years. This book starts with the rise of modernity and places the emergence of punk as a musical subculture into that longer historical narrative. It also reveals how punk itself became a contested terrain, as participants sought to imbue the production of music with greater meaning. It highlights all styles of punk and its wide variety of creators around the world, including from the LGBTQ+, feminist, and alternative communities. Punk was and remains a transnational phenomenon that influences music production and shapes our understanding of culture’s role in community building.
Drawing from studies with pre- and in-service teachers in Quebec, Smallest Circles First looks at how teacher agency engages with the educational calls to action from Canada’s Truth and Reconciliation Commission. Using drama education and theatre, Smallest Circles First explores how the classroom can be used as a liminal educational site to participate in reconciliatory praxis. Smallest Circles First presents several arts-based educational research examples that illustrate how the arts provide a space for students, teachers, and communities to explore and learn about reconciliation praxis and responsibilities. By implementing arts-based counter-narratives set against settler Canadian history and geography, Smallest Circles First considers the implications of systemic racism, colonization, and political, social, and economic ramifications of governmental policies. Tangible examples from the book showcase how teachers and students can use the arts to learn specifically about their responsibilities in engaging with Canada’s Truth and Reconciliation Commission, in addition to how this work can still meet curricular learning outcomes.
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