Le poème Vafþrúðnismál présente la rencontre entre deux figures mythologiques, Vafþrúðnir et Óðinn, qui s'affrontent dans une joute verbale. Une lecture attentive du texte conduit à la conclusion que le dieu, dans les questions qu'il adresse au géant. L’analyse de la nature de l’interaction apporte ainsi une nouvelle compréhension du texte et permet d’expliquer plusieurs aspects du poème, jugés jusqu’à présent problématiques. L’étude montre qu’il n’y a aucune injustice dans la distribution des questions ou dans la dernière énigme, comme on l’a traditionnellement interprété, mais que tous deux répondent à une logique bien précise du texte. A travers cette fiction littéraire, le poème transmet sous une forme ludique un savoir traditionnel au moyen d’un genre particulier : la joute d’énigmes. / The poem Vafþrúðnismál presents the meeting of two mythological figures, Vafþrúðnir and Óðinn, who compete in a verbal duel. A close study of the text leads to the conclusion that the god is not seeking any knowledge with his questions to the giant. Therefore, the analysis of the nature of the interaction provides a new understanding of the poem and explains several aspects that have, until now, been perceived as problematic. This study shows that there is no injustice regarding the distribution of questions between the two protagonists, but that this follows a specific logic in the text. In the same way, the analysis of the final riddle reveals that it is not ‘unfair’, as it has traditionally been interpreted, but that it has a precise function in the text. Through this literary fiction, Vafþrúðnismál transmits – in a playful way – traditional knowledge, by means of a specific genre: riddling.

This thesis is the first study to examine the interaction between gods and giants in Old Norse mythology from the perspective of Iron Age halls. Its central aim is to contextualise Old Norse mythological narratives that describe the interactions between gods and giants in a hall environment, and to show how the mythological depictions can be compared to the norms and rules found in Iron Age hall culture, especially in connection with its warrior ideology. The relationships observed also apply to the Iron Age’s aristocratic sovereigns and their dynamic dealings – both peaceful and martial – found in the connection and rivalry between different halls and hall owners. The giants are related to the concept of “the Other”, and as hall-owners can thus be contextualised with real social relations in Iron Age society. The investigation centers arounds key topics from the perspective of a hall setting, departing from mythic traditions regarding Óðinn and Þórr as guests in the halls of giants. These topics include grið within the hall; the good and generous host; the dangerous and hostile guest; the hall as an arena for knowledge and mead; and finally the destruction of halls as an attack on the hall owner’s fame and honour. Similarities and differences between myths about Óðinn’s and Þórr’s interaction with hall-owning giants are examined in depth, and it is argued that Óðinn embodies wisdom and extracts knowledge or valuables from the giants by cunning tricks or manipulation, having (usually) travelled there alone and in disguise. Þórr, on the other hand, is argued to embody physical strength, honour, glory and courage, and his dealings with the giants revolve around these issues. He seldom seems to travel alone or under cover, and when his courage or honour is threatened, his response is to kill his host (and his retinue) and to destroy the giant’s hall. It is argued that the Old Norse conception of the world is to be understood as neither dualistic or monistic. Instead, it is proposed that the myths can be understood from a perspective of conflicts that are temporal and not permanent in nature.

This dissertation deals with the interpretation of four myths from early medieval Scandinavia, in which the main role is played by the god Óðinn. All four myths narrate how he achieved a state of permanent increase of his numinous knowledge. Based on the fact that the outcome of all of the narratives is the acquisition of the Mead of Poetry (or its equivalent), they can be percieved as "four reports on the same event". The analysis of myths itself has been executed in two steps: firstly the separate inquiry of the two more central myths and introduction of the other two followed by thorough analysis of the four together. All four myths demonstrate to a certain degree a presence of motifs and structures associated with the religious phenomena of sacrifice and initiation. By the means of said analysis the study reviews the systematic relations of the sacrificial and initiatory structures and postulates a common core which is subsequently named "monomyth".