Stamboom Homs » Hisarnis "Isama" (Amal Dynasty) (± 150-????)

Persoonlijke gegevens Hisarnis "Isama" (Amal Dynasty) 

• Roepnaam is Isama.
• Hij is geboren rond 150 in (Present Poland).
• Beroepen:
• .
• .
• Hij is overleden in Scythia (Present Ukraine).
• Een kind van Amal (Amal Dynasty) en (Unknown)
• Deze gegevens zijn voor het laatst bijgewerkt op 17 september 2011.

Gezin van Hisarnis "Isama" (Amal Dynasty)

Hij heeft/had een relatie met (Unknown).

Kind(eren):

1. Ostrogotha King of the Goths King of the Goths  ± 180-± 250 

Notities over Hisarnis "Isama" (Amal Dynasty)

{geni:occupation} King of the Goths, King of the Amals (ca 139)

{geni:about_me} From the Foundation for Medieval Genealogy page on Hungary Kings:

http://fmg.ac/Projects/MedLands/HUNGARY.htm#_Toc146273201

B. DYNASTY of the AMAL GOTHS

Iordanes sets out the ancestors of Athal, in order, as follows "Gapt…Hulmul…Augis…Amal a quo et origo Amalorum decurrit…Hisarnis…Ostrogotha…Hunuil…Athal"[31].

Reference:

[31] Iordanes Getarum, MGH Auct. ant. V.1, p. 77.

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From Jordanes' Getica:

http://people.ucalgary.ca/~vandersp/Courses/texts/jordgeti.html#visi

XIV

(79) Now the first of these heroes, as they themselves relate in their legends, was Gapt, who begat Hulmul. And Hulmul begat Augis; and Augis begat him who was called Amal, from whom the name of the Amali comes. This Amal begat Hisarnis. Hisarnis moreover begat Ostrogotha, and Ostrogotha begat Hunuil, and Hunuil likewise begat Athal.

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This information is according to the Wikipedia page on Ukrainian Rulers:

http://en.wikipedia.org/wiki/List_of_Ukrainian_rulers

Greuthungi

The Amali dynasty, Amals, Amaler, or Amalings of the Greuthungi ("steppe dwellers" or "people of the pebbly coasts"), called later the Ostrogothi.

Hisarna, (Isarna), the Iron One, born fl. 140 or ca. 153

(Bulfinch's Mythology lists his epithet as "Man of Iron": http://bulfinch.englishatheist.org/theodoric/chapter1.htm)

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From the Wikipedia page for Filimer, Gothic King:

http://en.wikipedia.org/wiki/Filimer

Filimer was an early Gothic king, according to Jordanes.

He was the son of Gadareiks and the fifth generation since Berig settled with his people in Gothiscandza. When the Gothic nation had multiplied Filimer decided to move his people to Scythia where they defeated the Sarmatians. They then named their new territory Oium, meaning "in the waterlands". This migration would have taken place c. 2030 years before Jordanes wrote his "Origin of the Goths".[1]

The archaeological record shows that the population of the Gothic Wielbark culture (Poland) had indeed moved and settled in the Ukraine (Ben M. Angel notes: but at a much later date than 1490 BC) and mixed with the previous populations of the Zarubintsy culture, where they formed the Chernyakhov culture. This cultural movement is identified as the migration of the Goths from Gothiscandza to Oium, but not all scholars find the evidence compelling.[2]

Jordanes (XXIV:121) also relates that Filimer expelled the völvas, who were called Aliorumnas (probably Halju-runnos, meaning "hell-runners" or "runners to the realm of the dead", which refers to their shamanistic experiences during trance). These völvas were condemned to seek refuge far away and procreated the Huns.

The Danish scholar Christensen has suggested that the name Filimer was made up by Cassiodorus,[3] a suggestion that was favourably received among historians.[4]

References

1. ^ Jordanes, Charles Christopher Mierow, ed., Getica 313

2. ^ Michael Kulikowski (2007), Rome's Gothic Wars, pp. 63,64, ISBN 0521846331

3. ^ Arne Søby Christensen (2002), Cassiodorus, Jordanes, and the History of the Goths. Studies in a Migration Myth, ISBN 978-87-7289-710-3

4. ^ Alexander Callander Murray (2004), "Review of "Cassiodorus, Jordanes..."", The International History Review XXV: 805

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Ben M. Angel summary: The migration of the Goths from the Vistula (Wisla) likely began during this person's life. According to Jordanes, this would be about the time that the Goths and the Geptae separated, with the Geptae remaining along the Vistula for at least a generation or two more before following the rest south.

The original sources for these uppermost members of the Amal family tree only provide their names in a chain, where one person "begat" another, defining only really what generation they were in. Wives names were not included any earlier than the concubine of Theodemir. Some members are tied to specific events, which can help with placing them and the generations around them in history, but birth and death dates are for the most part estimates.

The birth dates for this area of the tree, taken from Wikipedia's entry on Ukrainian rulers appear to be 30 years apart. One should bear in mind that they are nowhere near exact. But the estimate can help in guessing where they were born and where they died. For instance, a map presented by Peter Zolin, Professor of Historical Sciences, shows that the Goths had migrated from the Vistula to the Black Sea coast in the 3rd century:

http://www.novgorod.ru/read/information/history/clauses/veneman

We know that the Goths were on the Black Sea by 238. So this migration should have taken no more than one or two generations.

Hisarnis was not listed by Jordanes or Cassiodorus as a Gothic King (the title likely belonged to a legendary king named Filimer, if the more important detail about his reign of the two is that he led the Goths into Scythia, as opposed to having lived in 1490 BC), but he did have the epithet of "Man of Iron" (suspiciously, the ancient Celtic word for iron is "isarna"). Likely, if his name was as these Gothic historians claimed, he was a warrior as well as head of the Amal clan.

Other noteworthy events in the 2nd and 3rd century within the region stretching from the Baltics and Poland to the northern half of Ukraine:

2nd century: The Alans, having arrived from Asia to the Azov Sea and Don River basin the previous century, have integrated with the Yancai of the region, forming a new kingdom of mostly nomadic herdsmen in the region. The group would soon ally with the nearby Sarmatians and form a confederation that would act as a momentary (5-year duration) defense to the Chernyagov Culture (to their west) during the Hun invasion.

160s - 180s: As the Goths move inland from the Baltic Sea (vacating their Wielbark culture homes), they apparently displace a number of German tribes. The tribes abutting the Roman frontier are driven, as a result, into the Marcomannic Wars; the Vandals (part of the Przeworsk culture) are themselves driven south into war with the Romans. They appear not to have disrupted the cultures to the east, as the "Galindai" and "Sudinoi" remained in place around present Vilnius from Ptolemy's time (2nd century) to Peter von Dusburg's time (13th century).

200-230s: The Goth invasion of the Scythian steppes ("Oium") collapses the last remnants of the ancient state of Scythia.

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Ben M. Angel notes: As light entertainment, Hisarnis was featured in a song by the Goth rock group Infernum:

http://www.lyricsmode.com/lyrics/i/infernum/#share

The roots of darkness span the welkin,

Reflecting scorn upon this world.

As hail and horde claim all beneath it

Trample all within your might.

Stain the sky to mark thy kingdom.

Part the darkness with your sword.

Storm and kill

Claim all that please you...

The heavens belong to the Iron One.

Hisarna! Iron One!

Mark my name upon thy stones...

Let the wretched, beg for mercy

I will show thee none, my foe.

Iron One! Hisarna!

Ride I forth to claim thy throne...

How the angels wept defeat!

Now the master faith be known...

Which gives a person a good excuse to reflect on the whole modern Goth movement (which has little to do with the original Goths, other than inspiration). From the Wikipedia page on Goth subculture:

http://en.wikipedia.org/wiki/Goth_subculture

Origins of the term

The original Goths were an Eastern Germanic tribe who played an important role in the fall of the western Roman Empire. In Florence (Tuscany) during the early Renaissance aera, the term "goth" became pejorative, synonymous with "barbarian" and the uncultured due to the then-contemporary view of the fall of Rome and depictions of the pagan Gothic tribes during and after the Christianization of Europe.

During the Renaissance in Europe, medieval architecture was retroactively labeled Gothic architecture, and was considered unfashionable in contrast to the then-modern lines of classical architecture and more modern building techniques and materials, eliminating such features as flying buttresses.

In the United Kingdom, nostalgia for the medieval period led people to become fascinated with medieval Gothic ruins in the late 18th century. This fascination often combined with an interest in medieval romances, Roman Catholic religion and the supernatural.

Gothic novel

The gothic novel of the late 18th century, a genre founded by Horace Walpole with the 1764 publication of The Castle of Otranto, was accountable for the more modern connotations of the term gothic. He originally claimed the book was an actual medieval romance he discovered and republished. Thus was born the gothic novel's association with fake documentation to increase its effect.

Henceforth, the term was associated with a mood of horror, morbidity, darkness and the supernatural, as well as camp and self-parody.

The gothic novel established much of the iconography of later horror literature and cinema, such as graveyards, ruined castles or churches, ghosts, vampires, nightmares, cursed families, being buried alive and melodramatic plots. An additional notable element was the brooding figure of the gothic villain, which foreshadowed the Byronic hero.

The most famous gothic villain, the vampire, is a folklore legend of Eastern Europe and the Balkans, best known from Bram Stoker's novel Dracula and the horror movies it influenced.

Certain elements in the dark, atmospheric music and dress of the post-punk scene were clearly gothic in this sense. The use of gothic as an adjective in describing this music and its followers led to the term goth.

19th century

The Revolutionary War-era "American Gothic" story of the Headless Horseman, immortalized in Washington Irving's story "The Legend of Sleepy Hollow" (published in 1820), marked the arrival in the New World of dark, romantic story-telling. The tale was composed by Irving while he was living in England, and was based on popular tales told by colonial Dutch settlers of New York's Hudson River valley.

The story was adapted to film in 1922, and in 1949, in the animated The Adventures of Ichabod and Mr. Toad. It was readapted in 1980 and again in Tim Burton's 1999 Sleepy Hollow. Burton, already famous through his films Edward Scissorhands, Beetlejuice, and Batman, created a storybook atmosphere filled with darkness and shadow.

Throughout the evolution of goth subculture, classic romantic, gothic and horror literature has played a significant role. Keats, Poe, Lovecraft, E.T.A. Hoffmann, Baudelaire and other tragic and romantic writers have become as emblematic of the subculture as has using dark eyeliner or dressing in black. Baudelaire, in fact, in his preface to Les Fleurs du mal (Flowers of Evil) penned lines that as much as anything can serve as a sort of goth malediction:

C'est l'Ennui! —l'œil chargé d'un pleur involontaire,

Il rêve d'échafauds en fumant son houka.

Tu le connais, lecteur, ce monstre délicat,

—Hypocrite lecteur,—mon semblable,—mon frère!

It is Boredom! — an eye brimming with an involuntary tear,

He dreams of the gallows while smoking his water-pipe.

You know him, reader, this fragile monster,

—Hypocrite reader,—my twin,—my brother!

20th century influences

The influence of the gothic novel on the goth subculture can be seen in numerous examples of the subculture's poetry and music, though this influence sometimes came second hand, through the popular imagery of horror films and television. The powerful imagery of horror movies began in German expressionist cinema after the first world war and then passed onto the Universal Studios films of the twenties and thirties, and then to the horror films of the English Hammer Studio.

By the 1960s, TV series, such as The Addams Family and The Munsters, used these stereotypes for camp comedy. The Byronic hero, in particular, was a key precursor to the male goth image, while Dracula's iconic portrayal by Bela Lugosi appealed powerfully to early goths. They were attracted by Lugosi's aura of camp menace, elegance and mystique. Some people credit the band Bauhaus' first single "Bela Lugosi's Dead", released August 1979, with the start of the goth subculture, though many prior art house movements influenced gothic fashion and style, the illustrations and paintings of Swiss artist, H. R. Giger being one of the earliest. Other notable examples include Siouxsie Sioux of the musical group Siouxsie and the Banshees, Robert Smith of The Cure, and Dave Vanian of the band The Damned. Some members of Bauhaus were, themselves, fine art students or active artists.

Some of the early gothic rock and deathrock artists adopted traditional horror movie images and drew on horror movie soundtracks for inspiration. Their audiences responded by adopting appropriate dress and props. Use of standard horror film props like swirling smoke, rubber bats, and cobwebs featured as gothic club décor from the beginning in The Batcave.

Such references in their music and image were originally tongue-in-cheek, but as time went on, bands and members of the subculture took the connection more seriously. As a result, morbid, supernatural, and occult themes became more noticeably serious in the subculture.

The interconnection between horror and goth was highlighted in its early days by The Hunger, a 1983 vampire film, which starred David Bowie, Catherine Deneuve, and Susan Sarandon. The movie featured gothic rock group Bauhaus performing Bela Lugosi's Dead in a nightclub. In 1993, Whitby became the location for what became the UK's biggest goth festival as a direct result of being featured in Bram Stoker's Dracula.[citation needed]

Postmodernism

A literary influence on the gothic scene was Anne Rice's re-imagining of the idea of the vampire. Rice's characters were depicted as struggling with eternity and loneliness. Their ambivalent or tragic sexuality held deep attractions for many goth readers, making her works popular in the eighties through the nineties.

The re-imagining of the vampire continued with the release of Poppy Z. Brite's book Lost Souls in October 1992. Despite the fact that Brite's first novel was criticized by some mainstream sources for allegedly "lack[ing] a moral center: neither terrifyingly malevolent supernatural creatures nor (like Anne Rice's protagonists) tortured souls torn between good and evil, these vampires simply add blood-drinking to the amoral panoply of drug abuse, problem drinking and empty sex practiced by their human counterparts"[volume & issue needed], many of these so-called "human counterparts" identified with the teen angst and Goth music references therein, keeping the book in print. Upon release of a special 10th Anniversary edition of Lost Souls, Publishers Weekly— the same periodical that criticized the novel's "amorality" a decade prior— deemed it a "modern horror classic" and acknowledged that Brite established a "cult audience."[9]

Later media influences

As the subculture became well-established, the connection between goth and horror fiction became almost a cliché, with Goths quite likely to appear as characters in horror novels and film. For example, The Crow drew directly on goth music and style. Neil Gaiman's acclaimed graphic novel series The Sandman influenced Goths with characters like the dark, brooding Dream and his sister Death.

Mick Mercer's 2002 release 21st Century Goth explores the modern state of the Goth scene around the world, including South America, Japan, and mainland Asia. His previous 1997 release, Hex Files: The Goth Bible similarly took an international look at the subculture.

Visual art influences

The Goth subculture has influenced different artists—not only musicians—but also painters and photographers. In particular their work is based on mystic, morbid and romantic motifs. In photography and painting the spectrum varies from erotic artwork to romantic images of vampires or ghosts. To be present is a marked preference for dark colours and sentiments, similar to Gothic fiction, Pre-Raphaelites or Art Nouveau.

In the Fine Art field, Anne Sudworth is a well known goth artist with her dark, nocturnal works and strong Gothic imagery. Often, goth visual art goes hand in hand with goth music, such as artist Nathaniel Milljour whose gothic artwork is predominantly used by bands and nightclubs.

Some of the graphic artists close to Goth are Gerald Brom, Nene Thomas, Luis Royo, Dave McKean, Jhonen Vasquez, Trevor Brown, Victoria Francés as well as the American comic artist James O'Barr. H. R. Giger of Switzerland is one of the first graphic artists to make serious contributions to the Gothic/Industrial look of much of modern cinema with his work on the film "Alien" by Ridley Scott.

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There is also a "Hisarna steelmaking process" created by a Dutch company:

http://en.wikipedia.org/wiki/HIsarna_steelmaking_process

http://www.azom.com/news.asp?newsID=19872

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And according to the European Commission Research - Industrial Technologies page:

http://ec.europa.eu/research/industrial_technologies/case_studies/case-studies-006_en.html

(Be prepared to use your "stop" button to get around the annoying redirect script)

Isarna is actually the ancient Celtic word for iron, which could give a clue as to where Jordanes and Cassiodorus got the name from.

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