Germanic Mythology in Music: Cultural Memory and Conflict within the Framework of Modern Globalization

The multi-layered enactment of a national past in music has been strongly intertwined with the usage of mythological elements. Having often been compiled as a coherent narrative during the emergence of the European nation-states (like the Finnish Kalevala), the mythological material has often been perceived as a form of historical truth and national justification. This focal role is also apparent in various music genres ranging from folk revival to metal in post-1989 Europe. Within the globalized context, however, local-national interpretations can collide with earlier nationalist appropriations. This complex and sometimes politically conflicting situation becomes particularly evident with groups falling back on symbols and narrations that had previously been employed by Nazi-Germany. While Nazi-Germany had, among others, tried replace the Christmas tradition with elements and songs from Germanic (and other) mythological sources, modern Neo-Nazi music groups often employ central mythological names (like Odin or Tyr) and iconic elements (like Vikings and warriors) in song lyrics and CD cover designs. However, while many covers and lyrics are legally forbidden in Germany, Scandinavian and Baltic groups (like the Faroese Viking metal group Tyr and the Latvian pagan metal band Skyforger) employ similar elements of Norse mythology, which are often combined with traditional material. Discussing selected case studies, this paper highlights central discursive points of colliding historical-national associations and individual interpretations of the mythological elements in musical contexts. How far can the material be disassociated from the earlier historical political usage and instrumentalization? Is this necessary ? And how can the specific global-local conflict points be approached by a theoretical framework ?

Norm and Anomaly in the Jewish Life of Jesus (Toledot Yeshu)

The Toledoth Yeshu, the “Generation,” or “Life of Jesus,” have been described as an anti-Gospel, or a parody of the Gospel. This protean tradition, witnessed in more than hundred manuscripts and printed editions, offers a “counter-history” of the life of Jesus and the origins of Christianity. According to this mischievous narrative Jesus was an illegitimate child turned charlatan, and his disciples a bunch of violent and senseless rogues who continued to stir up trouble in Israel even following their leader’s shameful hanging. The Toledoth Yeshu is the story of an anomaly (Jesus and the birth of Christianity). It is also a story about confusion: marital confusion, social confusion, and religious confusion. As an exercise in “historical imagination,” the Toledoth Yeshu offers a narrative of religions compared, and a reflection on social and religious borders, on their instability and fragility, and ultimately on their necessity. The present paper will explore the normative dimension of the Toledoth Yeshu tradition: the way the “disorder of things” the narrative relates also conveys a powerful discourse on social and religious norms. We will also seek to map this tradition in the broader context of medieval Jewish discussions on Jesus (particularly Maimonides) as a “case” in the religious history of mankind, addressing issues of false prophecy, religious deviation, transgression, and heresy.