The Rewriting of Njáls saga concerns itself with the process which enables literary texts to cross cultures and endure history. Through six interrelated case studies, Jón Karl Helgason focuses on the reception of Njáls saga, the most distinguished of the Icelandic sagas, in Britain, the United States, Denmark, Norway and Iceland, between 1861 and 1945. The editions and translations in question claim to represent a medieval narrative to their audience, but Helgason emphasises how these texts simultaneously reflect the rewriters' contemporary ideas about race, culture, politics and poetics. Introducing the principles of comparative Translation Studies to the field of Medieval Literature, Helgason's book identifies the dialogue between literary (re)production and society.

Njals saga is universally recognised as the greatest and most complex of all the sagas of Icelanders (Islendingasogur). The originality with which the writer composed his narrative has led to its being likened to a novel created by an author who certainly used sources, although identifying which parts of the saga descend from oral and which from written sources has proved difficult. The 'Christian background' of the title of this study refers to the ecclesiastical texts (including Scripture and its exegesis, church liturgy and the liturgical year, and hagiographical and apocryphal writings) which, it is argued, were used by the author of Njals saga as he both created a bipartite structure, using familiar Christian metaphors to help unify the work; and developed his central thematic concern: that good legal judgement depends upon justice and mercy acting together, as in divine judgement. It is this which finally redeems Skarphedinn Njalsson.

Considered to be one of the finest of the Icelandic sagas, "Njal's Saga" (or "The Story of Burnt Njal") was written sometime in the thirteenth century by an unknown author and is the longest and most developed of the sagas. The source material for the saga was historical but probably drawn largely from oral tradition. The story relates events that took place between 960 and 1020, involving blood feuds in the Icelandic Commonwealth. It features memorable characters like the noble warrior Gunnar of Hlidarendi, the lawyer Njáll Þorgeirsson, and the mildly villainous Mord Valgardsson, whose motivations and passions are familiar to people of every age and locale. The saga is divided into three parts, which describe the friendship between Gunnar and Njal, the tragic consequences of revenge, and finally the retribution of Flosi and Kari. Themes of loyalty, marriage, family honor and vengeance permeate this beautifully written and timeless epic.

Njals saga, the greatest of the sagas of the Icelanders, was written around 1280. It tells the story of a complex feud that starts innocently enough--in a tiff over seating arrangement at a local feast--and expands over the course of 20 years to engulf half the country, in which both sides are effectively exterminated, Njal and his family burned to death in their farmhouse, the other faction picked off over the entire course of the feud. Law and feud feature centrally in the saga, Njal, its hero, being the greatest lawyer of his generation. No reading of the saga can do it justice unless it takes its law, its feuding strategies, as well as the author's stunning manipulation and saga conventions. In 'Why is Your Axe Bloody?' W.I. Miller offers a lively, entertaining, and completely orignal personal reading of this lengthy saga.

The present collection examines the complex interrelationship between the oral and the written and the problems of textualisation.

This anthology of international scholarship offers new critical approaches to the study of the many manifestations of the paranormal in the Middle Ages. The guiding principle of the collection is to depart from symbolic or reductionist readings of the subject matter in favor of focusing on the paranormal as human experience and, essentially, on how these experiences are defined by the sources. The authors work with a variety of medieval Icelandic textual sources, including family sagas, legendary sagas, romances, poetry, hagiography and miracles, exploring the diversity of paranormal activity in the medieval North. This volume questions all previous definitions of the subject matter, most decisively the idea of saga realism, and opens up new avenues in saga research.