Sandra Ballif Straubhaar

Last updated

Sandra Ballif Straubhaar
Bornc.1951
Occupation Germanic studies Scholar
NationalityAmerican
Notable worksOld Norse Women's Poetry: The Voices of Female Skalds

Sandra Ballif Straubhaar is a Germanic studies scholar known for her work on women's poetry in Old Norse, and for her contributions to scholarship on J. R. R. Tolkien's Middle-earth legendarium, in particular his use of Scandinavian medieval literature and lore. [S 1]

Contents

Biography

Sandra Straubhaar obtained her bachelor's degree in German and English at Brigham Young University in 1972. [S 1] She gained an MA in German at Stanford University in 1975, and then studied Old Norse and modern Icelandic at the University of Iceland until 1978. She obtained her PhD in German Studies and Humanities at Stanford University in 1982. [S 1] [S 2]

She held positions as lecturer and assistant professor at Lansing Community College, the University of São Paulo, Michigan State University, and Brigham Young University before moving to the University of Texas at Austin in 1998; she became a distinguished senior lecturer there in 2013. [S 1] [S 2]

Straubhaar is well known from her articles on Old Norse women's poetry as well as her popular entry on that subject in the 1993 Medieval Scandinavia: An Encyclopedia. [1]

Reception

Old Norse Women's Poetry

Straubhaar's book presents Old Norse poetry by or about female figures from the real to the magical. Depicted is the giantess Hyrrokkin, riding on a wolf with vipers as reins. Kulturen - Riesin Holdrykka.jpg
Straubhaar's book presents Old Norse poetry by or about female figures from the real to the magical. Depicted is the giantess Hyrrokkin, riding on a wolf with vipers as reins.

Straubhaar's 2011 book Old Norse Women's Poetry: The Voices of Female Skalds presents the work of Icelandic and Norwegian women poets from the 9th to 13th centuries, in other words starting from the Viking age. Each text is presented in three forms, with the Old Norse poetry, a verse translation, and a somewhat literal prose translation. The skalds covered range from "real people" and the quasi-historical, to dream-verse, legendary heroines, magic-workers and prophetesses, and finally the hostile "trollwomen". [S 3] The book had a mixed reception among scholars, who noted its problematic definitions of women grading from real to magical. [2]

Catherine Cox, in South Atlantic Review , called the project of assembling the poetry "admirable", but "flawed by inconsistencies and ambiguities" of attribution and definition of what the "voices of female skalds" actually are, given that both real and imagined women are included. In Cox's view, a much sharper analysis of the distinction was required. [3]

Cynthia Hallen, in Rocky Mountain Review, described the book as "a diverse and intriguing database of verse", but comments that neither the verse nor the prose translation actually capture the "word orders, rhetorical figures, skaldic conventions, and the breathless tone of the passage". She liked the "nuggets" of history and cultural insight, but found them too scattered, and the commentaries sometimes too understated. She appreciated the timeline and glossary of names but would have liked approximate dates for the passages. [4]

Kate Heslop, in Speculum , noted that most of the poetry in the book was little known, making the collection "unprecedented". Heslop understood Straubhaar's frustration over unproductive debates about authenticity, but commented that the rich variety of female skaldic verse "demand[s] an engagement with poetic voice as a textual construct; the poetry .. is no less real for being fictional, after all". [5] She called the texts accurate and the translations reliable, barring the "notorious cruces" of Völuspá 22, and found the "unavoidably looser verse rendering" attractive. In contrast, she thought the introduction "too meager" and "a missed chance for a new perspective". She disagreed with Straubhaar's claim that manuscript variation was unimportant, as it was "key to tracing such processes". [5]

Jenny Jochens, in Scandinavian Studies , welcomed "this handsome volume", but wondered why only one of the "women-centered Eddic poems from the Codex Regius" was included. After describing the chapters in detail, Jochens stated that the poetry is not sufficiently set in context, making pleasurable reading difficult and requiring increased work by teachers. She noted that one of her own articles, apparently not known to Straubhaar, [6] gives a more complete survey. [1]

Awards and distinctions

Works

Straubhaar has written numerous research articles, encyclopedia entries including eight to the J. R. R. Tolkien Encyclopedia , [S 4] and book chapters including "Myth, late Roman history, and multiculturalism in Tolkien's Middle-Earth" [S 5] in Jane Chance's 2004 reader Tolkien and the Invention of Myth. [S 6] Straubhaar has published the following books: [S 1]

Related Research Articles

<i>Poetic Edda</i> Collection of Old Norse poems

The Poetic Edda is the modern name for an untitled collection of Old Norse anonymous narrative poems in alliterative verse. It is distinct from the closely related Prose Edda, although both works are seminal to the study of Old Norse poetry. Several versions of the Poetic Edda exist: especially notable is the medieval Icelandic manuscript Codex Regius, which contains 31 poems.

Gillingr is a jötunn in Norse mythology, and the father of Suttungr. Gillingr and, later, his wife are murdered by the dwarfs Fjalar and Galar. In revenge, his son Suttungr tortures the dwarfs into giving him the mead of poetry.

In Norse mythology, Lofn is a goddess. Lofn is attested in the Prose Edda, written in the 13th century by Snorri Sturluson and in kennings found in skaldic poetry. In the Prose Edda, Lofn is described as gentle in manner and as an arranger of marriages, even when they have been forbidden. Scholars have proposed theories about the implications of the goddess.

<span class="mw-page-title-main">Alliterative verse</span> Form of verse

In prosody, alliterative verse is a form of verse that uses alliteration as the principal device to indicate the underlying metrical structure, as opposed to other devices such as rhyme. The most commonly studied traditions of alliterative verse are those found in the oldest literature of the Germanic languages, where scholars use the term 'alliterative poetry' rather broadly to indicate a tradition which not only shares alliteration as its primary ornament but also certain metrical characteristics. The Old English epic Beowulf, as well as most other Old English poetry, the Old High German Muspilli, the Old Saxon Heliand, the Old Norse Poetic Edda, and many Middle English poems such as Piers Plowman, Sir Gawain and the Green Knight, Layamon's Brut and the Alliterative Morte Arthur all use alliterative verse.

<span class="mw-page-title-main">Skald</span> Old Norse poet

A skald, or skáld is one of the often named poets who composed skaldic poetry, one of the two kinds of Old Norse poetry in alliterative verse, the other being Eddic poetry. Skaldic poems were traditionally composed to honor kings, but were sometimes extempore. They include both extended works and single verses (lausavísur). They are characteristically more ornate in form and diction than eddic poems, employing many kennings, which require some knowledge of Norse mythology, and heiti, which are formal nouns used in place of more prosaic synonyms. Dróttkvætt metre is a type of skaldic verse form that most often use internal rhyme and alliteration.

<span class="mw-page-title-main">Harad</span> Fictional land in Tolkiens Middle-earth, south of Gondor and Mordor

In J. R. R. Tolkien's high fantasy The Lord of the Rings, Harad is the immense land south of Gondor and Mordor. Its main port is Umbar, the base of the Corsairs of Umbar whose ships serve as the Dark Lord Sauron's fleet. Its people are the dark-skinned Haradrim or Southrons; their warriors wear scarlet and gold, and are armed with swords and round shields; some ride gigantic elephants called mûmakil.

A mansǫngr is a form of Norse poetry. In scholarly usage the term has often been applied to medieval skaldic love-poetry; and it is used of lyric openings to rímur throughout the Icelandic literary tradition.

<span class="mw-page-title-main">Bragi Boddason</span> Viking Age Icelandic poet, warrior and farmer

Bragi Boddason, known as Bragi the Old was a Norwegian skald active in the first half of the 9th century, the earliest known skald from whom verses have survived. Portions of his Ragnarsdrápa are preserved in Snorri Sturluson's Edda.

Icelandic literature refers to literature written in Iceland or by Icelandic people. It is best known for the sagas written in medieval times, starting in the 13th century. As Icelandic and Old Norse are almost the same, and because Icelandic works constitute most of Old Norse literature, Old Norse literature is often wrongly considered a subset of Icelandic literature. However, works by Norwegians are present in the standard reader Sýnisbók íslenzkra bókmennta til miðrar átjándu aldar, compiled by Sigurður Nordal on the grounds that the language was the same.

<span class="mw-page-title-main">Hyrrokkin</span> Figure in Nordic mythology

Hyrrokkin is a female jötunn in Norse mythology. According to 13th-century poet Snorri Sturluson, she launched the largest of all ships at Baldr's funeral after the Æsir gods were unable to budge the vessel.

Þorleifr Rauðfeldarson, known by the epithet jarlsskáld or jarlaskáld was an Icelandic skald in the second half of the 10th century. He was one of the court poets of Jarl Hákon Sigurðarson and composed drápur on both the jarl and King Sweyn Forkbeard, but little of his work survives. He is the protagonist of Þorleifs þáttr jarlaskálds, a largely fictional tale in the Flateyjarbók version of Óláfs saga Tryggvasonar en mesta, and is also mentioned in Svarfdœla saga and as a skald in a number of other sources, including Landnámabók and Skáldatal.

Scholars and critics have identified many themes of The Lord of the Rings, a major fantasy novel by J. R. R. Tolkien, including a reversed quest, the struggle of good and evil, death and immortality, fate and free will, the danger of power, and various aspects of Christianity such as the presence of three Christ figures, for prophet, priest, and king, as well as elements like hope and redemptive suffering. There is also a strong thread throughout the work of language, its sound, and its relationship to peoples and places, along with moralisation from descriptions of landscape. Out of these, Tolkien stated that the central theme is death and immortality.

Sonatorrek is a skaldic poem in 25 stanzas, that appears in Egil's Saga, an Icelandic saga focusing on the life of skald and viking, Egill Skallagrímsson. The work laments the death of two of the poet's sons, Gunnar, who died of a fever, and Böðvarr, who drowned during a storm. In the assessment of Margaret Clunies Ross, Sonatorrek "has probably received, from the second half of the nineteenth century onwards, the greatest literary approbation accorded to any single skaldic poem". According to the saga, after Egill placed Böðvarr in the family burial mound, he locked himself in his bed-chamber, determined to starve himself to death. Egill’s daughter, Thorgerdr, diverted him from this plan in part by convincing him to compose a memorial poem for Böðvarr, to be carved on a rune-staff.

Steinunn Refsdóttir was an Icelandic skald active at the end of the 10th century. Two verses by her are preserved, in which she taunts the missionary Þangbrandr.

<i>Hrafnsmál</i>

Hrafnsmál is a fragmentary skaldic poem generally accepted as being written by the 9th-century Norwegian skald Þorbjörn Hornklofi. Hrafnsmál largely consists of a conversation between an unnamed valkyrie and a raven; the two discuss the life and martial deeds of Harald Fairhair. Due to this, the poem is sometimes referred to as Haraldskvæði. The meter of the poem is dominantly Málaháttr, while smaller portions are in Ljóðaháttr and Fornyrðislag. Through dating of the parts as well as the meter is consistent, they may be separate compositions but scholarly consensus is indecisive. The poem is usually described as a praise poem, but bears more resemblance in style to the Eddic poems. In style, it so much resembles Atlakviða that it has been suggested they were both composed by Hornklofi. Stanzas from the poem were reworked into a song by Einar Selvik for the game Assassin's Creed Valhalla.

<span class="mw-page-title-main">Norse mythology</span> Mythology of the North Germanic peoples

Norse, Nordic, or Scandinavian mythology, is the body of myths belonging to the North Germanic peoples, stemming from Old Norse religion and continuing after the Christianization of Scandinavia, and into the Nordic folklore of the modern period. The northernmost extension of Germanic mythology and stemming from Proto-Germanic folklore, Norse mythology consists of tales of various deities, beings, and heroes derived from numerous sources from both before and after the pagan period, including medieval manuscripts, archaeological representations, and folk tradition. The source texts mention numerous gods such as the thunder-god Thor, the raven-flanked god Odin, the goddess Freyja, and numerous other deities.

The poetry in The Lord of the Rings consists of the poems and songs written by J. R. R. Tolkien, interspersed with the prose of his high fantasy novel of Middle-earth, The Lord of the Rings. The book contains over 60 pieces of verse of many kinds; some poems related to the book were published separately. Seven of Tolkien's songs, all but one from The Lord of the Rings, were made into a song-cycle, The Road Goes Ever On, set to music by Donald Swann. All the poems in The Lord of the Rings were set to music and published on CDs by The Tolkien Ensemble.

The thistle mistletoe formula is a pagan Norse Runic formula, involving several rhyming words ending in -istill. The formula is attested in around 15 variants from the Viking age.

References

Primary

  1. 1 2 3 4 5 "Curriculum Vitae". University of Texas at Austin. Retrieved 21 January 2021.
  2. 1 2 3 4 5 "Sandra B. Straubhaar". University of Texas at Austin. Retrieved 21 January 2021.
  3. Straubhaar, Sandra Ballif (2011). Old Norse Women's Poetry: The Voices of Female Skalds. Boydell & Brewer. ISBN   9781843842712. JSTOR   10.7722/j.ctt81tbg. Table of Contents
  4. Straubhaar, Sandra. "Tolkien Encyclopedia Entries". Sandra Straubhaar. Retrieved 21 January 2021.
  5. "Sandra Ballif Straubhaar". Google Scholar. Retrieved 21 January 2021.
  6. Straubhaar, Sandra Ballif. "Myth, Late Roman history and Multiculturalism in Tolkien's Middle Earth". In Chance, Jane (ed.). Tolkien and the Invention of Myth: A Reader. pp. 101–117.

Secondary

  1. 1 2 Jochens, Jenny (2011). "Review: [Untitled]". Scandinavian Studies . 83 (3 (Fall 2011)): 465–471. JSTOR   23075485.
  2. O'Donoghue, Heather (July 2013). "Review: [Untitled]". The Modern Language Review . 108 (3): 1009–1011. doi:10.5699/modelangrevi.108.3.1009. JSTOR   10.5699/modelangrevi.108.3.1009.
  3. Cox, Catherine S. (2012). "Review: [Untitled]". South Atlantic Review . 77 (1/2): 23–225. JSTOR   43738997.
  4. Hallen, Cynthia L. (2012). "Review: [Untitled]". Rocky Mountain Review. 66 (1 (spring 2012)): 93–95. doi:10.1353/rmr.2012.0013. JSTOR   23120606. S2CID   162465740.
  5. 1 2 Heslop, Kate (April 2013). "Review: [Untitled]". Speculum . 88 (2): 589–590. doi:10.1017/S0038713413001395. JSTOR   23488915.
  6. Jochens, Jenny (2002). "At the Dawn of Nordic Literature: A Chorus of Female Voice". Female Voices of the North I, An anthology. Vienna: Edition Praesens. pp. 11–53. ISBN   978-3706901543.