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His girlfriend has been murdered, and the entire town thinks that he's done, it. And one day he wakes up with this. It has elements of horror. It's also one of the most beautiful love stories I've ever read. Unlike the wizarding character he played growing up, Daniel revealed that his part is of a much darker calibre reports the Vancouver Sun. People are so keen to put a film into a genre - that's the easiest way to market it. And I'm sure when Horns is coming out, you'll see it marked as a horror, or whatever it is. But it's so many things. And the harder a film is to define, the better it probably is.

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The family sagas — at least most of them — clearly claim historicity. Everyday folktale characters do not feel that an encounter with an otherworld being is an encounter with an alien dimension. Here I will search for some patterns and develop some of these themes.


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This is also the main contrast given by the scholars mentioned above. However, it is not that simple. There is close contact and interaction all the time. Neither Gunnarr nor the narrator describes anything about this as remarkable. In short: we have no signs of two-dimensionality here. How should we interpret these two tendencies within the same genre? The only answer so far is given — partly indirectly — by scholars who want to explain the occasional occurrence of supernatural motifs in the supposedly realistic family sagas.

The way to explain this supposed contradiction has been to point out some features that resemble the ones I mentioned earlier. All these elements are markers of two-dimensionality. Above all, they are ascribed a more fantastic character than the classical ones; they are claimed to be full of magic and monsters, trolls, giants, dragons, etc. This explanation could be broken down into three points: 1.

It is a matter of the time of composition. The early sagas use two- dimensional depiction, while the late sagas use one-dimensional depiction. It is a matter of a claim to reality vs. But is this explanation correct? Or is it even the only possible one? I will give one example. But the longest single story in the episode concerns a strange supernatural being. People look in the store, but nothing is seen.

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Some men pull the tail, which seems dead, but nothing happens. Suddenly the tail is drawn through their hands and disappears and is never seen again. Nothing is found alive in the store.

In this episode we have a lot of markers of two-dimensionality. People are scared and surprised at the meeting with the supernatural.

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For a long time the Otherworld being is invisible; people only hear it, and do not see it. No interaction takes place between humans and the supernatural being. There are several other episodes of a similar kind in the classical family sagas. In these episodes two-dimensionality is marked in the depiction of the encounter with the Otherworld. The two-dimensionality of the Sage kind in supernatural encounters does indeed seem to be typical for the classical family saga. But what about the post-classical sagas? The post-classical sagas are full of encounters with Otherworld beings and there are certainly many cases that are characterised by the one-dimensional tendency.

In all these cases the encounter with these beings is depicted with full one-dimensionality. Bjorn was standing nearby and covered the man with his shield, but the dragon clawed almost through the shield. Here we have no surprise from either the narrator or the hero, no fear, no curiosity, and no sense of transgressing the limits. Instead we have unproblematic close contact and interaction. And the same is true in some other classical sagas too, which describe encounters with Otherworld beings. In these cases we have full interaction all the time, no wonder, surprise, etc.

There are several similar episodes in the classical sagas.

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The two- dimensional tendency is not the sole tendency in the classical family saga stories about encounters with the Otherworld. So what about the post-classical sagas? At the end of that saga a dragon is mentioned again. There is thus a remarkable distance to the monster, and there is no interaction.

There seems to be doubt in that the dragon is presented as merely a rumour. However, we still have to interpret the results. The question from the beginning of the article remains: why are some Otherworld stories in the family sagas depicted as one-dimensional and others as two-dimensional?

On the other hand most of the episodes characterised by one- dimensionality are adventure stories about heroes searching for great deeds and treasures and encountering trolls, giants and dragons as part of that.