title: From Epic to Ballad: the Faroese ‘Sjúrður Cycle’
metadata.name: dc.contributor.author
metadata.value: Kleiner, Yuri
metadata.lang: -
metadata.name: dc.contributor.author
metadata.value: Piotrovsky, Dmitry
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2019-10-18T19:04:33Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2019-10-18T19:04:33Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2019-03
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Kleiner Yu., Piotrovsky D. From Epic to Ballad: the Faroese ‘Sjúrður Cycle’. Scandinavian Philology, 2019, vol. 17, issue 1, pp. 134–145. https://doi.org/10.21638/11701/spbu21.2019.108
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/11701/spbu21.2019.108
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/16400
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: The story of Sigurd the Dragon Slayer exists in the major Germanic traditions (except Old English), represented by texts recorded between the second half of the 13th and the mid-19th centuries, viz. the Old Icelandic Eddas and the Vǫlsungasaga, the German Nibelungenlied and the three Faroese ballads recorded by V. U. Hammershaimb. One part of the Faroese cycle (up to the assassination of Sjúrður) is similar to the Icelandic version of the story, the rest being reminiscent of the German tradition. (The boundary lies within the second ballad.) In the Icelandic tradition, plots either make up a succession implying continuation and pre-history (heroic epic) or they may be confined within the boundaries of one poem (mythological epic). The Faroese Sjúrður ballads, although heroic, are closer to the latter type (the limits of the poem and the plot coincide). Both the ballads and the epic show traits of orality (formulaic style, repetitions, etc.), suggesting variability and, hence, lack of fixity typical of literary tradition. Normally, orality is put an end to as a result of recording. In the ballad tradition, the process is characterized by a specificity connected with the circumstances of performance (dance combined with singing), and the active role of the audience, who were active participants, which implied some knowledge of the texts sung. In this way, the ballads acquired stability to become, later on, fixed texts and a special genre within literary tradition.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: en
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Scandinavian Philology;Volume 17; Issue 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: Sigurðr poems
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Nibelungenlied
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Old Icelandic epic
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Faroese ballads
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: orality
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: recording
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: fixed texts
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: From Epic to Ballad: the Faroese ‘Sjúrður Cycle’
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 134-145.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/16400/1/134-145.pdf
resources.format: Adobe PDF
resources.size: 730,34 kB