At very first look, has represented a number of literary representations of the Viking era, females like they kings, warriors and as instigator of the violence that appears to contradict the image of the female passive and housebound. Nevertheless, these photos must be examine and re-interpreted with a hint measured criticism. For illustration, some researchers have argued that these photographs say little about the real history of Scandinavian and European females, but stand for male fantasies of later writers expressed. As opposed to literary representations, females viking age and ladies remained in Europe throughout the Middle Ages to the house and could not permit their voices be heard in public. In this groundbreaking examine by Scandinavian scholars, Lena Norrman, this book posits that females have had the possibility to communicate their custom through visual representations these kinds of as weaving and embroidery. Överhogdal tapestries ended up identified in the northern part of Sweden, dated about one thousand Advert. Woven with wool and linen dyed there, located these tapestries and weavings fairly tiny scientific consideration. The author believes that the tapestries inform the background of Överhogdal Sigurd Dragon Slayer, a representation that more than 200 a long time previously than the oldest manuscript of the famous legend that was spread more than distinct elements of Europe North, and arrives in Iceland and Greenland. Equally critical this textile representations from a female stage of see, wherever the emphasis is to uncover love, enthusiasm, honor and revenge, fairly than gold, weapons and magic performances are instructed of killing dragons. With a refreshing standpoint, reading the writer of the textiles on theories of oral tradition. They contextualize the stories in circulation tapestries, particularly says that “see” us or read through stories of girls, regardless of the fact that the voices were silent to allow women. These unconventional details such as weaving and writings contradict the wonderful views of girls as silent, passive participants in the occasions that shaped background. Granted the Viking era, this guide shows girls how their custom via visual representations these kinds of as weaving and embroidery that are a critical portion of this study was to inform. This is an essential reference stage for scientists in Scandinavian Studies and Women’s Scientific studies.