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Viking Women - The Narrative Voice in Woven Tapestries (Hardcover, New)
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Viking Women - The Narrative Voice in Woven Tapestries (Hardcover, New)
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At first glance, several literary portrayals of Viking Age women
represent them as kings, as warriors, and as inciters of violence,
which seems to contradict the image of the passive, housebound
female figure. However, those images need to be read and
re-interpreted with a measured critical suspicion. For example,
several scholars have argued that those images tell little about
the real history of Scandinavian and European women but instead
represent fantasies expressed by later male authors. In contrast to
the literary portrayals, Viking Age women and European women in the
Middle Ages stayed at home and were not allowed to let their voices
be heard publicly. In this groundbreaking study by Scandinavian
scholar, Lena Norrman, this book posits that women had ways to
communicate their lore through visual representations such as
weavings and embroideries. The verhogdal tapestries were found in
the northern part of Sweden and dated to circa 1000 AD. Woven with
locally-dyed wool and linen, these tapestries and weavings have
received relatively little scholarly attention. According to the
author, the verhogdal tapestries tell the story of Sigurr the
Dragon Slayer, a depiction that comes more than 200 years earlier
than the oldest manuscript of this well-known legend, which was
disseminated through different parts of Northern Europe as well in
Iceland and Greenland. Equally important, these textile
representations are told from a female perspective where the focus
is on love, passion, honor and revenge instead of finding the gold,
magical weapons and depictions of the killing of the dragon. Using
a refreshing perspective, the author's reading of these textiles is
based on theories of oraltradition. She contextualizes these
tapestries as narratives in circulation, and more specifically,
argues that they allow us to "see" or read women's stories despite
the fact that women's voices were silent. Such untraditional
outlets as weavings and miracle writings contradict the view of
women as silent, passive participants in the events that shaped
history. With respect to the Viking Age, this book shows that women
had ways to communicate their lore through visual representations
such as weavings and embroideries, which are a crucial object of
this study. This is a critical reference for scholars in
Scandinavian studies and Women's studies.
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