Marvel's Thor and the danger of subverting expectations

While watching the movie my sister texted me "there were no Asian Vikings!"

I think the expectations for this movie were different than what we would expect from other movies. Thor, like its counterpart Captain America, also coming out this year, have been produced almost for the sole purpose of giving back stories to some Marvel characters that are required to be in the Avengers movie, coming out next year. Both Captain America and Thor were poplar comics, but did not carry over into current generations in the same way that X-men, or Ironman, or Spiderman did. I am not tuned in enough to the Marvel universe to give appropriate explanations for this, however from my point of view I feel that it could be that either these characters never had the depth of the other ones, or that certainly, in the case of Captain America, even his name is hokey by modern standards. This is why the Captain America movie is set in the era in which he was born, the 1940s, because this is the only era where such a name is acceptable. I think it is perhaps a little less clear cut for Thor, but perhaps he was actually hindered rather than helped by the ties to a medieval mythology. The hammer is, in some ways, a less glamorous weapon, though really Stan Lee and Jack Kirby did him no favours by giving him that outfit, but I guess it was okay for the time.



As Laurie Rizzo pointed out in her paper on "Analysis of Arthurian Film Reviews," delivered at Kalamazoo this year, it is the discourse around a film that shapes how that film will be received.

I rather enjoyed Thor. I think it can be said to have lived up to expectations. It was pretty and the acting was also pretty good. It lacked the depth, somehow, of other marvel films like the first Ironman or the Spiderman films, and played out exactly how you would expect Thor's story to play out. And it is interesting because criticisms of the film have taken the form of complaints about the film's accuracy.

One of the criticisms is how well it reflects 'vikings.' The film makes a bit of a play for appealing to Norse mythology, explaining how the world of Asgard came to be interpreted by the old Scandinavian cultures. And it is this more than the marvel comics that makes people question why there should be a black heimdalr or an asian warrior for Asgard. This is an interpretive decision I support, since in the end it is nearly as arbitrary to not include diversity as it is to include it. As I have said before the film will be charged more to stick to the marvel canon than to adhere to any Norse mythology (which is all very interpretive anyway). And the choices of people had more to do with the demography of the sixties than it did with accuracy to Norse mythology, so that it might as well be updated for a modern audience, just as the dialogue and the characters and the plot lines have to be updated. This criticism really comes because out expectations for what a society that inspired Norse mythology would look like.

And speaking of characters, one of the other criticisms I heard was of Natalie Portman's character, Jane Foster. Natalie Portman has been in a few movies this year with vague and yet obvious medievalism references; Thor and also Your Highness. The problem with Jane's character was that she ended up swooning over Thor. Modern heroine's simply do not swoon. Despite the fact that the character is clearly smart, as evidenced by her profession and drive, and is independent, and also makes a show of not being interested in Thor at first, her comments about how nice he looks in his god armour subverted our expectations of a modern heroine. Despite her strength, one of the only things we saw was her apparent weakness. I would argue that it is not inaccurate for a girl to be so taken by a guy, and it is not like she was a bond babe where all he had to do was look at her and she would sleep with him. And yet, it is that subverted expectation. I would compare it to the recent Robin Hood film with Russell Crowe. Cate Blanchett's Marian comes out in armour and with a sword. This is not necessarily inaccurate, but it subverted the audience's expectations for what a woman who was actually in that period would do, and so criticism centered around that issue.

I think it was a highly enjoyable, if kind of flat, film, which has some great Norse medievalisms. One expectation that was not subverted was the appearance of Stan Lee in the film. Look for him when the hillbillies come together and try to lift up Thor's hammer Mjolnir.

“Viking” North America: The North American Public’s Understanding of Its Norse Heritage

I presented this paper, “Viking” North America: The North American Public’s Understanding of its Norse Heritage at Session 528, 8:30 Sunday Morning in Fetzer 2020 at Western Michigan University for the 2011 International Congress on Medieval Studies at Kalamazoo. The conference was, for me, a great success. As I mention in the paper a lot of these ideas I developed in part while working on the article for Mapping Medievalism at the Canadian Frontier at the University of Western Ontario, and some I developed while interning at L'Anse aux Meadows National Historic Site. In this reproduction all the footnotes are left out, so if you are looking for references please look to the paper I did for Mapping Medievalism at the Canadian Frontier. I have, however, included my bibliography and all my visual aids.

“Viking” North America: The North American Public’s Understanding of Its Norse Heritage


(slide 1)

I would like to start off with a clip. During the 2010 Winter Olympics this ad ran in the province of Ontario nearly once a commercial break. It was part of a larger campaign for Newfoundland and Labrador tourism, though this was the ad they chose to run most frequently. While you watch, take note of the way that North America’s Norse heritage is being presented.



And once again:
And so they came,
five centuries before Columbus,
fearless warriors out to discover a New World,
the Vikings.
While they left behind their mark, they have long since gone …
… so far as we can tell.
Newfoundland and Labrador.

This summer, as part of my internship for my public history degree, I worked at L’Anse aux Meadows National Historic Site.


(slide 2: images from summer 2010)

What I can identify as public knowledge about North America’s Norse heritage comes from informal discussions with tourists, from the study of the way that promoters of heritage frame the Norse-North American connection in order to appeal to the public and finally from cursorily studying the historiography. From my research and my experiences I can tell you that this advertising campaign was widely successful. Through talking with people I discovered that a great many of them (I would be so bold to say as one out of three people) had seen the advertisement and had decided to visit L’Anse aux Meadows because of it. For many it was a case of “well we always wanted to come and then we saw that advertisement, you know, with the children.” It was so successful amongst North American audiences that tourism numbers, I can say unofficially, were the highest they had ever been, despite the drop off in American tourism that resulted from the closing gap between the two dollars.

The success of the ad campaign is in part from its stunning images of Newfoundland landscape. However, what brought people up to the northernmost parts of Newfoundland was not just the landscape, since this is stunning, but not remarkably more stunning than other, perhaps more easily accessed, parts of the province. The draw was this emphasis on a medieval European past that genuinely belonged to North Americans. If we listen to the words of this advertisement, in it the province is appealing to everything that makes the ‘Vikings’ popular amongst North American audiences. The advertisement is emphasizing and then reasserting exactly what North Americans think about their own Norse heritage.


(slide three)

I argue that the North American public understands their Norse heritage as part of their origins mythology as a settler/invader nation. This is seen through the continuous coupling of Norse explorers such as Leifr Eiríksson with late medieval European explorers, specifically Christopher Columbus. I would also argue that the North American public’s understanding of the Norse culture can be summed up in everything that is meant by the word Viking and, as in the advertisement, is epitomized by the phrase ‘fearless warriors out to discover a new world.’


(slide 4: image of Christopher Columbus)

Nobody thinks that Christopher Columbus was the first European in North America. Granted, if we are talking about the knowledge of tourists who have made their way to L’Anse aux Meadows, likely if they have made it that far off the beaten path they probably already have an inkling as to why that site is important. However, it has been my experience amongst my friends, family, general adult education classes and pretty much everyone I talk to, that no one still thinks that Christopher Columbus was the first. But he persists as the poster boy for European exploration and colonization in North America and he is the common reference point for the discussion about European arrival to this continent.


(slide 5: images of the manuscripts that contain the Vinland Sagas)

The presence of Vikings, or Norse, in North America was speculated about long before any of the archaeological evidence at either L’Anse aux Meadows or Skraeling Island (just off of Ellesmere Island) was found. The two Icelandic sagas, Grœnlendinga saga and Eiríks saga rauða, have been dubbed the Vinland sagas because of their descriptions of voyages to Helluland, Markland and finally Vinland by the likes of Leifr Eiríksson and Thorfinnr Karlsefni, amongst others. The presence of a real Vinland is corroborated by other textual references.

The level of descriptors in the sagas has caused scholars to find the places mentioned in the sagas in North American localities since the first translations into Latin, and then Danish in the eighteenth and nineteenth centuries. Much scholarship since the nineteenth century has been characterized by this desire to find the real places of the sagas, to find the ‘true’ discoverers of America. This is done by locating the ‘real’ Vinland. Some of these attempts have been more nationalistic than others.

One way that the Norse have been used is to indigenize Europeans to the North American landscape, by at the very least giving the Europeans a longer history on the continent, and by at the most appropriating native arts, culture, or artefacts, and attributing them to the Norse instead of to Native cultures. For example, in 1883 Rasmus B. Anderson wrote a new prologue to his book America Not Discovered by Columbus, in which he said of the creation of the “runes” on the Dighton Rock that had been found in the Taunton River:


(slide 6)

I think they were iron implements, and that they were in the hands of a skilled mechanic—a Norseman worthy of the name. I do not know that my opinion on this question is of any consequence, still I have seen work undoubtedly performed by an aboriginal American with flint and stone tools, but the characters were not nicely edged, as these are. I cannot believe they were made by the lazy Indian of Schoolcraft.

Starting in 1940, Reider T. Sherwin wrote eight volumes on The Viking and the Red Man; The Old Norse Origin of the Algonquin Language. In them he went through the Algonquin vocabulary and showed how each word had an Old Norse origin.

In the search for the 'true' first Europeans it is typical to view the Vikings and Columbus as foils for each other, and to show that only one can be the real 'first.' Take for example, as an extreme, Mary B. Shipley, who, in 1877, wrote one of the more overtly nationalistic works concerning the Norse landings in North America. Her book was entitled The Icelandic Discoverers of America, or, Honor to Whom Honor is Due. In it she stated that the founding of America was one of the greatest achievements in all of world history, and if North America ceased to acknowledge Columbus, but instead acknowledged the Vikings, all the corruption of Catholicism and its most devout followers, the Spanish, would disappear from American culture. In short everything that was good, including the self-determinism and self-government espoused by the Norse, would again be emphasized. That is an extreme, though looking at Vikings in America by Graeme Davis, published in 2009, Davis also saw the “marginalization” of the knowledge of the Icelanders as a plot by Columbus, the papacy, and the Spanish monarchy, and persisted in construing the Norse voyages in terms of the American ideal. He stated that “in the Vikings, America finds its first European settlers. Most fittingly these first European Settlers in America were people searching for what we know today as the American dream of life, liberty and the pursuit of happiness.”


(slide 7: Top left corner; 1840s lecture describing Norsemen as first. Bottom right corner; Mary B. Shipley's book. Centre; Publication accompanying 1992 exhibit at the Canadian museum of Civilization. Bottom left; W.A. Munn. Top right; Helge Ingstad.)

Before the discovery of the archaeological evidence there was a scholarly reaction against taking the sagas as proof of any real place, but that didn’t stop the popular and perhaps amateurish wave of interest in locating the real Vinland. This desire to find the places of the sagas is what lead people like W.A. Munn in 1914, and eventually Helge and Anne Stine Ingstad, to the Straits of Belle Isle to look for evidence of the Norse past. By the end of the 1960s it was agreed that the Norse had been to North America, though we will never all agree as to the locations in the sagas, despite the sometimes fine arguments that are made, because while there are many specific details about geography in the sagas there are too many variables and interpretations possible for those details. Halldór Hermansson’s 1909 Vinland bibliography was ninety pages in length and contained 750 entries. By 1997 Robert Bergersen’s Vinland bibliography, Writings Relating to the Norse in Greenland and America, was 400 closely printed pages. And that was thirteen years ago. I think as well the sheer number of treatises and papers written about this subject, and particularly about the geography of Vinland problematizes this division between scholarly and the public, because I think numbers like this indicate that this subject, possibly because of the traditionally nationalistic overtones, has a wide appeal. In the last thirty years many scholars who work on the Vinland Sagas, and even those who work both with the sagas and with the archaeology, have tried to distance themselves from such nationalistic discussions. In fact many scholars don’t care what personage was first, and see the arrival of these individuals as marking larger trends in technology and in European expansion and colonialism movements from different times. However, if one refers to the corpus of recent publications on Vinland it is evident that about as many analyses were published in 1992, the 500th anniversary of Columbus, as there were in 2000, the supposed 1000th anniversary of Leifr’s settlement. Because scholars approach it from this direction, this nationalistic discourse frames our understanding of the Norse voyages to North America.

And its place in our national mythologies is going to ensure that scholars and the public alike are going to continue to be interested in this particular piece of medieval and North American history.


(slide 8: Leif Eiríksson statue erected in 1887 in Boston)

The knowledge about the Viking arrival, “five centuries before Columbus,” as it states in the advertisement, may have trickled in from scholarly (or less than scholarly) work into the general education. However, this Columbus/Leifr Eiriksson debate has occasionally, throughout the nineteenth and twentieth century, become very public. With the erection of any new public history site, from the Leifr Eiríksson statue erected in Boston 1887 to the recognition of L’Anse aux Meadows as a Norse site in 1960.


(slide 9: Vinland Map, Yale University)

The Vinland map, discovered in the Yale library in 1965, was unveiled a few days before Columbus day and was viewed by some as unseating Columbus once and for all. The map was supposedly from the year 1470, twenty-two years before Columbus’s first voyage. The last time I delivered some of these ideas, someone told me afterwards that one of the people who was really upset by this was Frank Sinatra, who was among those who viewed this as an attack on Italian/American heritage. The map is know largely regarded as a fake, but regardless the existence of a physical map shouldn’t be that different from the oral map that exists in the sagas, though this is a more modern opinion and perhaps a more scholarly one. Inga Dóra Björnsdóttir talks about how the juxtaposition of Leifr and Columbus is politically charged because of the importance of both to the chronology of the North American founding myth, and also because of the importance of having a symbol of unity representative of the Anglo-Saxon race and not of Catholic origin. Leifr Eiriksson day is October 9th. This date was chosen because the ship the Restauration arrived on October 9th, 1825, bringing the first Scandinavian immigrants to the New York harbour from Stavanger, Norway. What is interesting is that Leifr Eiríksson day pre-empts Columbus Day, on 12 October, by three days. The choice of dates is legitimate but also political.


(slide 10: Top left; Runestone museum in Alexandria. Bottom left; Yarmouth Runestone, Nova Scotia. Bottom right; Recreation group at Norstead in L'Anse aux Meadows. Top right; L'Anse aux Meadows.)

So the public understands this Columbus/Viking dichotomy. We can look then at the way that heritage/tourism industries appeal to this sense of ‘who was first.’
There are several locations in North America that celebrate North America’s Norse heritage. L’Anse aux Meadows has the most legitimacy because of the presence of the archaeological site. The arctic sites are important to heritage, but the lack of the tourist gaze in that area of the world has resulted in very little commemoration. Therefore, in that area no one is concerned about marketing the area’s medieval heritage in terms of the public’s interests and understanding. Some heritage/tourism sites gain a form of legitimacy by claiming to be an interpretation of what could have been or are museums to the culture as opposed to any specific events, like Norstead, the living history museum across from the official site at L’Anse aux Meadows. Some institutions house artefacts that could be Norse, and might not be, like the runestone at the Yarmouth museum, and allow visitors to make up their own mind. What is really interesting is that the meagre set of evidence has resulted in the proliferation of interpretation sites all the way from Minnesota and Ohio to the edge of Newfoundland. This helps to represent the place that this history holds in the minds of the public, in that there is an audience for this wide range of sites.


(slide 11: sign erected by tourism association on road into St. Anthony/ L'Anse aux Meadows)

One interesting thing I came across during my time at L’Anse aux Meadows was this sign, which has been placed by the Northern Peninsula tourism association along the road into St. Anthony and L’Anse aux Meadows. The interesting story that I heard, as it was told to me, is that the consultant had suggested putting a sign there that said ‘Is this Vinland?’ Instead, the tourism association were the ones who decided that now was no longer the time to question. The sixties is when they questioned, now was when they marketed this very real and very tangible connection to the medieval.


(slide 12: signs marking the major route, the Viking trail, through the northern peninsula)

The whole landscape of the Northern Peninsula now reflects this rebranding and this reinterpreting in terms of the connection to the medieval, because this is a part of history that continues to resonate with people.

Whether Norse or Viking is a more appropriate term to describe the culture of culture of 750-1100 CE Scandinavia is an ongoing debate. Viking is a word that conjures up images of brutal raiders and pirates, as well it should as the Old Norse word vikingr and the Anglo Saxon wicingas refers to basically pirates. Viking is a reflection of Victorian imaginations of romantic brutality. This is not to deny the brutal aspect of the culture, but it is only one aspect of this largely agrarian and mercantile society. Here a division between scholars and public is a bit more defined, as scholars like the word Norse better. The public has never heard this word. L’Anse aux Meadows archaeologist Birgitta Wallace has this to say about the continuing debate between the use of the two words.


(slide 13)


Historians have substituted the words “Viking” and “Vikings” with Norse, which is a more comprehensive term, corresponding to the Scandinavian norroen, and referring to all Scandinavians of the Viking and Medieval periods. Historians have tended to insist on this more correct term, but references to “Vikings” and “Viking Age” has [sic] become so successful in the promotion of heritage and tourism that most historians now accept these terms.

Like many nineteenth century romantic medievalisms, the term Viking and all that it evokes has proved so durable a concept, that it is counter productive to disregard this word as a term for that culture. Without it we discard the basic building block for the public’s understanding of this culture. The word Viking carries basic images with it. Likewise, the use of certain symbols in pop culture, for better or worse, can stand in for a description of Vikings. One has only to give a character a horned helmet for the audience to understand that he is meant to be a Viking.


(slide 14: Top; How to Train your Dragon. Bottom left; Hagar the Horrible. Bottom right; Commercial for Capital One. Bottom centre; Commercial for Volkswagen minis.)

I would say that films, like How to Train your Dragon, and popular culture, credit card commercials, continue to use this image not because they are ignorant and because they don’t know any better per se, but because they can skip a lot of exposition about who one is trying to depict by just giving them the helmet. So much is implied by these images because it is assumed that the public understands and has seen these images before. They draw on the public understanding and continue to foster it, misconceptions and all.


(slide 15: images from L'anse aux meadows summer 2010)

Telling visitors that there was no evidence of horned helmets, and that the concept had come instead from Wagnerian opera, was one of the most interesting interpretation tools at the disposal of the L’Anse aux Meadows staff, because in some ways it is challenging the one thing that most of the public believes they know about the Vikings.


(slide 16)

In conclusion, the North American public understands this not as Norse, but as Viking heritage. The culture is known for its violence and its raiding; for being one of ‘fearless warriors.’ And yet, it also gives it a place of primacy in the history of North America. It will continue to be a favourite subject amongst people who write popular histories, because of the emotional and romantic place accorded to these events and to the arrival of these so-called ‘first’ Europeans. Talking with tourists I was able to confirm that the way that the Norse heritage in North America is marketed by institutions like Newfoundland and Labrador tourism both reflects and in turn is further constructing the way the heritage is understood by the North American public.


(slide 17: images from the Mapping Medievalism at the Canadian Frontier project)

Many of these ideas are versions of ones that I put forth in my paper “Putting the Vikings on the Canadian Map,” which was published as part of the UWO project and exhibition Mapping Medievalism at the Canadian Frontier. A copy of this version of my paper I am going to put up on my blog, but for a more in depth discussion look to this original paper, published by Museum London.

Thank you


(slide 18)

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Your Highness and your Lowness: A Medievalist's Review

Described in the Your Highness trailer blog, the source of this photo, as a "new medieval comedy," Your Highness is a tribute to stoner culture featuring stoner poster boys James Franco and Danny McBride. Being appreciative, but not a participant of the culture, it took me much longer than I would like to admit to get the Your Highness reference. The actors, all extremely talented individuals, manage to have good comedic timing and the acting was overall, surprisingly good considering the content of the movie.

But everybody who has seen the trailers knows exactly what they are going to see, written at least in part by Danny McBride, the movie has the stupidest, most obvious jokes anyone has ever written, including the 'booby' trap, the sucking of one's 'own venom' and any other crude reference ever concocted. In this context, given the aim of the movie, stupid, obvious, obnoxious, crude and rude are not exactly bad things. One of the stupidest, weirdest, grossest things was that (spoiler alert) after defeating the minotaur Danny McBride's character wears the Minotaur's penis around his neck for the rest of the show as a trophy. It is the kind of running gag that starts off kind of funny, becomes less funny, and is really funny by the end of the movie.

It was a movie by men, for men. Natalie Portman and Zooey DesChannels, talented actresses, hold their own, but they kick butt and are dim damsels respectively, and don't have as much character as the male leads.

I enjoy stupid humour, and was glad to see the movie, but it wasn't good enough to watch a second time. What was really well done, however, were the set designs and the art direction. The world of Your Highness was more stunning than the content of the movie warranted. Castles, caves, huts, vast valleys, trees and woodlands, dungeons, labyrinths, cliffs and a climactic scene in a tower made this movie worth watching. Specifically, what was really breathtaking was the fantasy world, based on quasi medieval worlds, that the director and art supervisor created.

What was really interesting, however, is that the 'medieval' world created by the film had a distinctly eighties feel to it. To understand the appeal of Your Highness, look back to fantasy and medieval worlds of the 1980s and early nineties to see director David Gordon Green and Danny McBride's influences. Watching Your Highness I felt nostalgia for the tolkie-esque and medieval-esque films from that period. The influence was also really seen in the aspects of medieval culture that were highlighted. The movie made jokes about chastity belts, like Robin Hood Men in Tights. They also used puppets as opposed to CGI for their wise pervert who started them on their quest, reminding us of films like Labyrinth or the Dark Crystal. The costumes and the settings reminded us of the Princess Bride or other fantasy films like Legend. The final scene before the denouement reminded us of a similar scene in Prince of Thieves, where Robin must rescue Marian before the Sheriff of Nottingham assaults her. The bad guys hair kind of reminded me of flock of seagulls, but that is in a slightly different vein. The use of evil wizards and witches, however, reminds us of so many different things, particularly the early video games from that age. There is clearly a debt here to the medievalism of the eighties, and the movie has gone through that filter and acknowledged its debt to those sources in its 'medievalism.'

It was a beautiful film though. It made me wish for a film that used those kinds of, what I might call 'medieval faire', aesthetics to tell a perhaps slightly more serious fairy tale story. Medievalists should watch it, and be nostalgic for the eighties, and for the movies that we watched that led many of us to medieval studies even though they were a far cry from most things medieval. Just, don't expect the film to be more than it is.

PhD in Viking/Norse Studies in North America

A little while back the blog Old Norse News had a discussion about the different places where one might be able to study Viking/Norse Studies in North America. It was a good start, and the real value to that was in the comments, because people commented on what their schools had to offer.

I don't know everywhere in the States or Canada that offers Old Norse at the undergraduate and graduate level, but I can share my experience of applying to different schools and the PhD programs that I have encountered here in NA. I feel it is pretty thorough, but maybe because I just feel like I have been looking at this subject for awhile.

University of Toronto:

I will continue to apply to this school, though my chances continue to be slim. I was at the International Congress of Medieval Studies in Kalamazoo at the University of Toronto reception and told some of the students that I was interested in going to the UofT Centre for Medieval Studies to study a Norse subject. One of the students looked at me and said 'really?' Apparently, though it is synonymous with medieval studies it is not necessarily with Norse Studies. This is not because there is not quailty people, because there is. However David and Ian McDougall don't really supervise PhD candidates, because they are mostly involved with the Dictionary of Old English program. This leaves Andy Orchard as the only person who could supervise a thesis on a Norse subject, which is a big burden for a large institute. In addition, so far he has been a bit more difficult to get a hold of to consult with. However, it is still one of the best institutions in North America and I will continue to apply also because it would be the most convenient for me.

Cornell University:

This is a more obvious choice. Both Oren Falk, who does not just philology and language but society as well, and Thomas D. Hill are both Norse supervisors at this Medieval Institute. The ideal thing about this school and U of T are that they are both Medieval Institutes. This means that interdisciplinarian approaches and backgrounds are appropriate.

University of Saskatchewan:

Richard Harris in the English department is very active in the North American Norse scholarly community. However, the PhD is in English, so if you have an interdisciplinarian background you are unlikely to be considered.

University of Wisconsin-Madison:

The Scandinavian Studies program does have a PhD program here. There are quite a few good people working here that could supervise a PhD on a Norse/Viking subject. However, you will need to speak a modern Scandinavian, preferably mainland, language. Background in Old Norse is not sufficient.

University of California - Berkeley:

The Department of Scandinavian Studies takes PhD students in Norse/Viking subjects. A modern mainland Scandinavian language helps. John Lindow is one of the primary supervisors and definitely the one to talk to.

Fordham University:

Again, only apply here if you have a solid background in English, as it is not really about interdisciplinary programs. But Martin Chase is a scholar here.

University of Western Michigan:

As the home of the International Congress of Medieval Studies it hosts a good number of people, including Jana Schulman. International Students have to apply through the international studies department first. And their is no PhD in Medieval Studies so the degree has to be in either English or Comparative Religion, so prepare for requirements and distributions that are unrelated to what you would like to do. But they do accept people with un-traditional backgrounds.

Indiana University:

Prof. Fulk is in the English department and Prof. Gade is in the Germanic Studies department. If your PhD is focused more on Old Norse than English or Germanic Studies, then there is not really a place here for you. However, both of those departments do have people who work in Old Norse and PhD programs.

University of Washington and University of Minnesota:

Both have Scandinavian Studies programs, but do not seem to have the resources to host PhD students doing an Norse/Viking topic. This may change.

University of Western Ontario:

Dr. Poole was, up until recently, a member of the English Faculty here. He will no longer be shortly, and will not be able to supervise any theses. This was, but is no longer an option for a PhD.

Harvard University:

Yes, Prof. Mitchell is here. And there is room for interdiscipline studies. But it is also Harvard, so all the difficulties implied for getting accepted stand.


I am welcome to more suggestions of other places to apply. I realize I have picked a subject that not many people in North America are working on or can supervise, but I am interested in continuing my studies in North America since I would like to be a scholar in North America. Don't get me wrong, wouldn't trade my MA in Norse and Viking Studies from the University of Nottingham (see photo above) for anything. But how will I be known if I can't do the conference circuit here instead of there. I hope these tips and this experience can help others as well as generate some help for me.

Crossroads

It is not a plight reserved only for Public Historians, though I was attempted to make that statement in the title. Most of us ambitious come to this point, at the intersection of rejection, anticipation and triumph, where so much is happening so very quickly that you are missing all the action while you are busy waiting for your life to start.

For this Public Historian/Medievalist, confident in her own abilities yet no stranger to rejection, I find myself poised on the edge of such a moment.


I graduated from the Public History program at Western in October. Technically the program finished in August, but I was able to prolong my internship at L'Anse aux Meadows into October. Now, like many trained professionals I want a job in the field I am trained for, though my main criteria for employment is that it is challenging and that I enjoy it.

When we met for graduation in October not one of us from the graduating class yet had a job. Not surprising. Nor is it surprising that some of us have found work in the field, some of us have found other kinds of work, some of us are still looking and some are now doing more school.

This week I am expecting to hear back from three jobs. One I interviewed for in November. They said the decision would take them a few weeks. Ha! Fair enough, as long as you judge weeks in 'government time.' One I interviewed for last week seems really interesting and would also be in my field. One is Blockbuster, where I have worked before. And I do love movies, so I would be happy there, but it rather pales in comparison.

I have also applied to PhD programs. Like employment, the waiting is what kills you as they leave you in a state of limbo. I have had one rejection letter so far, which is not all that disheartening, because that is wont to happen. But it rather adds to the sense of sitting around and waiting for your life to start.

A sensation that is mitigated by the many triumphs I have had this year. My article 'Putting the Vikings on the Canadian Map' was published in the special project Mapping Medievalism at the Canadian Frontier due to the tireless efforts of Dr. Kathryn Brush of the Visual Arts Department at the University of Western Ontario. One of my life goals of seeing my name in print for something I wrote is accomplished. I am also going to be delivering a version of the paper in a lecture for the Society for the Public Understanding of the Middle Ages panel at the 2011 International Congress of Medieval Studies at Kalamazoo Michigan. Look for me, 8:30 am Sunday morning. It is an international forum for my work, so that I can start trying to build a reputation.


As I say, my life is at a crossroads, and many things that may happen this week are going to start pointing me down different paths. It is a place most people are going to end up on their road. I just hope to be strong enough to be able to wait for the rejections that will point me to my eventual triumphs.

Asgard the shiny: The Thor trailer and how I'm excited

The medievalism in the film Thor has taken a long road from the medieval period to end up on the screen. By this I mean that, like most fantasy, this film will employ a version of the 'medieval.' Unlike most fantasy, however, it will not be a medieval-esque world that is invoked. Instead, it is reference to a very specific piece of 'medieval' mythology. The Norse legends were the inspiration for the comic book that would be the inspiration for the film. And so its reference to the medieval is more specific than most fantasy. And yet the world that is portrayed (or what I can tell from the trailer) is less trying to create an impression of something medieval than most fantasy. Instead Asgard looks futuristic, as does the wardrobe choices, with just a touch of the fantasy medieval being visible. Compare it to something, say, like Eragon or something aimed for children, where the feeling and atmosphere make use of a medievalism though nothing specifically medieval is referenced. For instance, there are dragons, but no mention of say Beowulf and his fight with the dragon.

I am interested to see how this will play out. I stand by what I said earlier, that I think that the film has no obligations to be true to the original myth, only to the comic book, and yet it will be interesting to see how mythological 'medieval' they decide to go.

New Evidence about Native American ancestry in Iceland

Discovery News had an article about the possibility of their being Native American blood in the Icelandic line from around the year 1000. Their study was genetic. At first when I read it, I thought how are they going to argue that, when it could be introduced at a much later time, but they dealt with this issue. So by the time I was done reading the article I was convinced.

However, on further reflection, I have to admit that they seem to have gone for the most romantic explanation. Yes, Greenland can sometimes be thought to be more Americas than Europe, but wouldn't a more likely explanation be that the mingling happened in Greenland and that Greenland settlers brought it back? Because the Norse were in Greenland a lot longer than they were in North America. And that colony disappeared, but we know that settlers came back from there to Iceland. Hey, even the ones who went to North America were mostly from Greenland, and some of them ended up back in Iceland.

I approve the tendency to reach for the romantic. It is what I would have done. But it seems there is a much more likely scenario than the one that they propose.