Wolves and the Wolfish: Imagery of a Cultural Phenomenon in Old Norse-Icelandic

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My project offers the first holistic examination of wolves in Old Norse-Icelandic culture, unearthing the impact of wolf imagery in medieval Iceland. Scholars have analysed wolves principally as menacing animals into which literary characters can shapeshift (Adalheidur Gudmundsdottir 2007, Kuusela 2012, Minjie Su 2020), and as a term of comparison for the most debased criminals in the Icelandic legalsystem (Gudrún Nordal 1998, Breen 1999, Riisoy 2014). I ask: What is the cause of wolves' cultural ubiquity in Iceland despite their physical absence? What does the spiritual and moral codification of this species suggest about social outlooks towards individuals associated with wolves? How has this aspect evolved in modern society?Despite the abundance of Old Norse-Icelandic literary sources mentioning wolves, archaeological evidence demonstrates this species was never indigenous to the island (Pluskowski 2006). However, wolves were present in Norway (Pluskowski 2006), whose culture and history are connected to Iceland. By expanding on recent studies regarding the history and distribution of this species in the Scandinavian landscape (Andersen et al. 2015, Taylor 2018), my thesis evaluates the meaning of wolves in folk taxonomy and the wider culture. This includes their pervasiveness in Scandinavian burial rituals (Pluskowski 2006), depictions on runestones (Oehrl 2010, Stern 2013), and the Old Norse-Icelandic naming tradition (Uecker 1972, Breen 1997).Additionally, I consider 'wolfishness' as a conceptual metaphor that shaped human perception and communication in medieval Iceland. Following Lakoff's (1987) 'image schema', I argue that 'wolfishness' operates as a conceptual domain, where mental representations sanction the extension of spatial and physical laws to more complex situations. Particularly, Thibodeau and Boroditski (2011) analysed the effect of animalistic metaphors on human thinking and opinions in modern society, and I study the viability of this approach in the medieval Icelandic context. Hence, I examine performative sources, such as skaldic poetry, to assess the artistic intent behind the representations of wolves and the audience's reception. I focus on the relationship between wolves, the words, and the poets' own discernment.Finally, Old Norse-Icelandic wolf imagery is interlaced with power (Speidel 2004) and this connection has been exploited by the Nazi propaganda and today's National Socialist Movement (Watt 1992, Mazower 2008), or by extremist groups (e.g., the Wolves of Vinland) to spearhead their views. Therefore, by critically evaluating the representation of wolves in Old Norse-Icelandic culture, my project contrasts themythologisation of these animals in modern times. I will use the cross-institutional connections the M4C consortium offers to circulate my research through conference programmes, such as Leicester's MRC or Birmingham's CeSMA events, which encourage engagement with local communities. Furthermore, I will collaborate with M4C's partner institutions such as the Nottingham UNESCO City of Literature to ensuremy project resonates with a broader public of non-academics.The first year of my research will analyse wolf archaeology and history in medieval Scandinavia, whereas the second and third year will be devoted to a close analysis of literary, linguistic, and artistic sources. The final six months will be focused on ordering and assessing my findings.