Image Power

11.1. Image Power

Like verbal systems associated with word power, the cultural activity of images allows them to become loaded with image power (cf. Honko 1998:96-97; 2003:113) according to their patterns of application in relation to context. Frankfurter (1995:475) stresses that applications of motif-complexes always “function in a present that only requires that they be recognizable,” and their cultural loads may not be identical to that of their history or origin. According to Anttonen (2000:166), “[i]t is not the assumed origin of a symbol that determines its use and meaning, but the mental horizons of individuals and the socio- cultural context in which it occurs.” Like the lexis of word power, the cultural load of images may show variance across genres or modes of expression, and develop an inter- related network of loads. This appears to be extremely significant in the cultural activity of mythic images (cf. Siikala 2002a; Frog 2009a).

The dangers encountered by Lemminkäinen on his Journey are adaptations and applications of mythic images (Supplement 3). The danger of the Fiery Eagle is not identical to the world-tree, although it may reflect an archaic conception of the world-tree image related to shamanic journeys (Siikala 2002a:310-314; 2002c:23-24). The world- tree mythic image appears to have been applied in order to infuse the danger with its

image power, generating a relationship or (partial) identity between the danger and the

world-tree, through which the danger assumed cosmological proportions. The specific danger then crystallized within the pool of traditions. In the period of collection, this mythic image and its motif-complex did not maintain specific indexical associations with a particular world-tree or world-tree narrative. However, it continued to participate in the extremely dynamic network of inter-related images or an image-complex with a network of aspects of image power spread across narratives and genres (Frog 2008a). It is useful to observe that the distinct forms of such an image may have strong or exclusive indexical associations with particular applications.

The activation of a mental image or mythic image loaded with image power is not dependent on particular words for it to become recognizable (Honko 1998:96-97; 2003:113; Rubin 1995:39-63). Image power is retained when the same image is represented in different registers (§16.4), languages (§9.5.3), and when it is expressed iconographically (§19.5) or through the semiotics of performative action (Frog 2009a).

Image power can be activated as soon as the image becomes recognizable: it is not

necessary for all details or elements of an image to be reflected in a representation for the activation of image power to be effective. Once the image is activated, unarticulated motifs may become implicit propositions in the communication carried by the image

power in addition to its contextual semiotic load, much as branches and leaves may be

implicit in the activation of the image of a tree (cf. Lotman 1990:56). The activation of complex mythic images may carry the activation of a comprehensive motif-complex implicit in its image power.

11.2. Image Power and the Emergence of Bracteates

Image power is most apparent in modes of non-verbal representation and communication.

Iconographic representations of narrative material appear to have played a significant role in Germanic Scandinavian culture at least since the Migration Period. Like oral traditions, strategies of iconographic representation can be divided into genres and may even be attributed with “registers” of visual motifs (cf. Axboe 2004). These are bound by conventional strategies which load them with image power. In §7.4.3 it was suggested that the magnitude of Germanic influences on the incantation tradition was not surprising if there was no pre-existing tradition of corresponding incantations established in the tradition ecology which could efficiently fulfil the same functions. A corresponding process can be observed in the emergence of bracteates. These emerged in response to Roman coins and their iconography, but the majority of motifs and motif-systems adapted from Roman models stem from the first half of the 4th century (Axboe 2004:207-208). This carries the implication that foreign models were most significant in the emergence of bracteates until a “vernacular register” of bracteate iconography was established and became self-sustaining.

Images and the iconographic system were assimilated into the existing tradition ecology and semiosphere. The significance of iconographic elements appears to have been redefined and applied for vernacular purposes. The Three-God-Bracteates have been identified with the “Victory crowns a victor” scene from the reverse side of Roman coins since the beginning of bracteate-studies, but it has proven impossible to identify a specific model for this bracteate-image (Axboe 2004:211). The “first” Three-God- Bracteate was clearly an innovation from an implied Roman model, but the model appears to have only provided a basic template which was radically revised to accommodate the motif-systems of a vernacular narrative (cf. Supplement 9). These represent a collection of explicit propositions probably reflecting a compromise between the model and intended vernacular referent. These explicit propositions are intended to activate the vernacular referent through a complex system of indexical relationships. The

explicit propositions are anticipated to activate a number of implicit propositions as well

as immanent propositions. Negated propositions may also be present in the communication. Variation among the Three-God-Bracteates clearly derives from adaptations and manipulations of Three-God-Bracteates as established vernacular models, implying established conventions of vernacular interpretations for both individual elements and the whole (§19.5).