Etymology
Scandinavia and Scania (Skåne, the southernmost province of Sweden) are considered to have the same etymology. Both terms are thought to be derived from the Germanic root *Skaðin-awjō, which appears later in Old English as Scedenig and in Old Norse as Skáney. The earliest identified source for the name Scandinavia is Pliny the Elder's Natural History, dated to the first century A.D.
Various reference to the region can also be found in Pytheas, Pomponius Mela, Tacitus, Ptolemy, Procopius and Jordanes. It is believed that the name used by Pliny may be of West Germanic origin, originally denoting Scania. According to some scholars, the Germanic stem can be reconstructed as *Skaðan- meaning "danger" or "damage" (English scathing, German Schaden, Dutch schade). The second segment of the name has been restructed as *awjō, meaning "land on the water" or "island". The name Scandinavia would then mean "dangerous island", which is considered to refer to the treacherous sandbanks surrounding Scania. Skanör in Scania, with its long Falsterbo reef, has the same stem (skan) combined with -ör, which means "sandbanks".
In the reconstructed Germanic root *Skaðin-awjō (the edh represented in Latin by t or d), the first segment is sometimes considered more uncertain than the second segment. The American Heritage Dictionary derives the second segment from Proto-Indo-European *akwa-, "water", in the sense of "watery land".
The Old Norse goddess name Skaði, along with Sca(n)dinavia and Skáney, may be related to Gothic skadus, Old English sceadu, Old Saxon scado, and Old High German scato (meaning "shadow"). Scholar John McKinnell comments that this etymology suggests that the goddess Skaði may have once been a personification of the geographical region of Scandinavia or associated with the underworld.
Read more about this topic: Scandinavia
Famous quotes containing the word etymology:
“The universal principle of etymology in all languages: words are carried over from bodies and from the properties of bodies to express the things of the mind and spirit. The order of ideas must follow the order of things.”
—Giambattista Vico (1688–1744)
“Semantically, taste is rich and confusing, its etymology as odd and interesting as that of “style.” But while style—deriving from the stylus or pointed rod which Roman scribes used to make marks on wax tablets—suggests activity, taste is more passive.... Etymologically, the word we use derives from the Old French, meaning touch or feel, a sense that is preserved in the current Italian word for a keyboard, tastiera.”
—Stephen Bayley, British historian, art critic. “Taste: The Story of an Idea,” Taste: The Secret Meaning of Things, Random House (1991)