Personality Aspects in the Psychological Analysis of the Main Character in Thor ” Ragnarok Movie
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1 the Legendary Saga of the Volsungs Cecelia Lefurgy Viking Art and Literature October 4, 2007 Professor Tinkler and Professor E
1 The Legendary Saga of the Volsungs Cecelia Lefurgy Viking Art and Literature October 4, 2007 Professor Tinkler and Professor Erussard Stories that are passed down through oral and written traditions are created by societies to give meaning to, and reinforce the beliefs, rules and habits of a particular culture. For Germanic culture, The Saga of the Volsungs reflected the societal traditions of the people, as well as their attention to mythology. In the Saga, Sigurd of the Volsung 2 bloodline becomes a respected and heroic figure through the trials and adventures of his life. While many of his encounters are fantastic, they are also deeply rooted in the values and belief structures of the Germanic people. Tacitus, a Roman, gives his account of the actions and traditions of early Germanic peoples in Germania. His narration remarks upon the importance of the blood line, the roles of women and also the ways in which Germans viewed death. In Snorri Sturluson’s The Prose Edda, a compilation of Norse mythology, Snorri Sturluson touches on these subjects and includes the perception of fate, as well as the role of shape changing. Each of these themes presented in Germania and The Prose Edda aid in the formation of the legendary saga, The Saga of the Volsungs. Lineage is a meaningful part of the Germanic culture. It provides a sense of identity, as it is believed that qualities and characteristics are passed down through generations. In the Volsung bloodline, each member is capable of, and expected to achieve greatness. As Sigmund, Sigurd’s father, lay wounded on the battlefield, his wife asked if she should attend to his injuries so that he may avenge her father. -
'Goblinlike, Fantastic: Little People and Deep Time at the Fin De Siècle
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output ’Goblinlike, fantastic: little people and deep time at the fin de siècle https://eprints.bbk.ac.uk/id/eprint/40443/ Version: Full Version Citation: Fergus, Emily (2019) ’Goblinlike, fantastic: little people and deep time at the fin de siècle. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email ‘Goblinlike, Fantastic’: Little People and Deep Time at the Fin De Siècle Emily Fergus Submitted for MPhil Degree 2019 Birkbeck, University of London 2 I, Emily Fergus, confirm that all the work contained within this thesis is entirely my own. ___________________________________________________ 3 Abstract This thesis offers a new reading of how little people were presented in both fiction and non-fiction in the latter half of the nineteenth century. After the ‘discovery’ of African pygmies in the 1860s, little people became a powerful way of imaginatively connecting to an inconceivably distant past, and the place of humans within it. Little people in fin de siècle narratives have been commonly interpreted as atavistic, stunted warnings of biological reversion. I suggest that there are other readings available: by deploying two nineteenth-century anthropological theories – E. B. Tylor’s doctrine of ‘survivals’, and euhemerism, a model proposing that the mythology surrounding fairies was based on the existence of real ‘little people’ – they can also be read as positive symbols of the tenacity of the human spirit, and as offering access to a sacred, spiritual, or magic, world. -
Valda – Gameplay FAQ
Valda – Gameplay FAQ Territory Control Q: If you control two god area’s: can you take 2 god cards (of the corresponding areas) at the beginning of your game phase or does it stay 1 god card + 1 card from base deck. And what does above mean if you have 2 temples at Freya? A: If you control one god area, you can take 1 god card + 1 card from the base deck. Showing them, depends if you have a temple at Freya are not. If you control two god areas, you can take 1 god card from one domain and the other one from your second area. So no card from base deck in this case. If you have 2 temples at Freya and control two god areas, then you don’t show your cards drawn in the game phase and you take 1 god card from your first domain, a second at your other area and the third card is drawn from the base deck. Q: What happens if you lend a temple with the ‘Infiltration’ card and you can lock a god area? A: If you have a 3rd temple in that area when borrowed, then you lock the area until the end of your turn (as you give back the temple after your turn). You do get a follower for that lockdown. Basic yellow Cards Q: Card Yggdrasil: is this 3x building in your game phase + 2x in the building phase? A: No, when Yggdrasil is played, you’ll get 3 building options instead of 2 in the building phase. -
A Discourse Analysis of the Patterns of Norse Masculinity Presented
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 Waging word wars: a discourse analysis of the patterns of Norse masculinity presented through mannjafnaor in the Icelandic sagas Jonathan Mark Broussard Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Social and Behavioral Sciences Commons Recommended Citation Broussard, Jonathan Mark, "Waging word wars: a discourse analysis of the patterns of Norse masculinity presented through mannjafnaor in the Icelandic sagas" (2010). LSU Master's Theses. 3142. https://digitalcommons.lsu.edu/gradschool_theses/3142 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. WAGING WORD WARS: A DISCOURSE ANALYSIS OF THE PATTERNS OF NORSE MASCULINITY PRESENTED THROUGH MANNJAFNAðR IN THE ICELANDIC SAGAS A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts In The Department of Geography & Anthropology By Jonathan Mark Broussard B.A., McNeese State University, May 2001 M.A., McNeese State University, May 2003 December 2010. ACKNOWLEDGMENTS I would like to thank all who helped me during the process of writing this thesis. I want to thank Dr. Jill Brody for directing my research and for providing advice and encouragement in all aspects of this project. -
Marvel Pop! List Popvinyls.Com
Marvel Pop! List PopVinyls.com Updated January 2, 2018 01 Thor 23 IM3 Iron Man 02 Loki 24 IM3 War Machine 03 Spider-man 25 IM3 Iron Patriot 03 B&W Spider-man (Fugitive) 25 Metallic IM3 Iron Patriot (HT) 03 Metallic Spider-man (SDCC ’11) 26 IM3 Deep Space Suit 03 Red/Black Spider-man (HT) 27 Phoenix (ECCC 13) 04 Iron Man 28 Logan 04 Blue Stealth Iron Man (R.I.CC 14) 29 Unmasked Deadpool (PX) 05 Wolverine 29 Unmasked XForce Deadpool (PX) 05 B&W Wolverine (Fugitive) 30 White Phoenix (Conquest Comics) 05 Classic Brown Wolverine (Zapp) 30 GITD White Phoenix (Conquest Comics) 05 XForce Wolverine (HT) 31 Red Hulk 06 Captain America 31 Metallic Red Hulk (SDCC 13) 06 B&W Captain America (Gemini) 32 Tony Stark (SDCC 13) 06 Metallic Captain America (SDCC ’11) 33 James Rhodes (SDCC 13) 06 Unmasked Captain America (Comikaze) 34 Peter Parker (Comikaze) 06 Metallic Unmasked Capt. America (PC) 35 Dark World Thor 07 Red Skull 35 B&W Dark World Thor (Gemini) 08 The Hulk 36 Dark World Loki 09 The Thing (Blue Eyes) 36 B&W Dark World Loki (Fugitive) 09 The Thing (Black Eyes) 36 Helmeted Loki 09 B&W Thing (Gemini) 36 B&W Helmeted Loki (HT) 09 Metallic The Thing (SDCC 11) 36 Frost Giant Loki (Fugitive/SDCC 14) 10 Captain America <Avengers> 36 GITD Frost Giant Loki (FT/SDCC 14) 11 Iron Man <Avengers> 37 Dark Elf 12 Thor <Avengers> 38 Helmeted Thor (HT) 13 The Hulk <Avengers> 39 Compound Hulk (Toy Anxiety) 14 Nick Fury <Avengers> 39 Metallic Compound Hulk (Toy Anxiety) 15 Amazing Spider-man 40 Unmasked Wolverine (Toytasktik) 15 GITD Spider-man (Gemini) 40 GITD Unmasked Wolverine (Toytastik) 15 GITD Spider-man (Japan Exc) 41 CA2 Captain America 15 Metallic Spider-man (SDCC 12) 41 CA2 B&W Captain America (BN) 16 Gold Helmet Loki (SDCC 12) 41 CA2 GITD Captain America (HT) 17 Dr. -
Poison and Revenge in Seventeenth Century English Drama
"Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Woodring, Catherine. 2015. "Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463987 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama A dissertation presented by Catherine L. Reedy Woodring to The Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of English Harvard University Cambridge, Massachusetts May 2015 © 2015 – Catherine L. Reedy Woodring All rights reserved. Professor Stephen Greenblatt Catherine L. Reedy Woodring “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama Abstract The revenge- and poison- filled tragedies of seventeenth century England astound audiences with their language of contagion and disease. Understanding poison as the force behind epidemic disease, this dissertation considers the often-overlooked connections between stage revenge and poison. Poison was not only a material substance bought from a foreign market. It was the subject of countless revisions and debates in early modern England. Above all, writers argued about poison’s role in the most harrowing epidemic disease of the period, the pestilence, as both the cause and possible cure of this seemingly contagious disease. -
RIDE of the VALKYRIES by WAGNER TEACHER PAGES
SECONDARY 10 PIECES PLUS! RIDE OF THE VALKYRIES by WAGNER TEACHER PAGES RIDE OF THE VALKYRIES BY WAGNER http://www.bbc.co.uk/programmes/p034s31d CONTEXT The Valkyrie is a Music Drama performed in an opera house. The Ride of the Valkyries is the descriptive orchestral prelude which sets the scene for Act III. The scene takes place on a mountain top : the music describes the arrival of a group of female warriors riding on horseback – these are the Valkyries who carry the bodies of fallen heroes to Valhalla, the home of the Gods. Wagner wanted to create dramatic works in which each of the arts contributed equally, as in Ancient Greek theatre. Wagner rekindled this tradition by choosing themes from mythological Nordic sagas for his music dramas – ancient Viking tales that underpin German culture. MUSICAL INGREDIENTS Pitch Major and minor contrasts Leitmotif (mainly triadic) Motivic development Fanfare Dramatic, expectant trills and tremolando effects Timbre Full romantic orchestration including Wagner Tubas Prominent brass Rhythm Compound time Dotted compound ‘galloping’ rhythms Texture Thick homophonic texture LEARNING ACTIVITIES SUMMARY Active Listening challenge: ‘Thought Bubbles’ and ‘Musical Jigsaw’ Performing challenge: Round of the Valkyries Composing challenge 1: Composing a funeral march Composing challenge 2: Alternative creative approach 1 KEY LEARNING Knowledge of musical dimensions: major and minor contrasts Skills development: composing - motivic development RELATED LISTENING EXAMPLES ‘Ride of the Valkyries’ staged -
Of Barrels and Pipes: Representation-As in Art and Science
Of Barrels and Pipes: Representation-As in Art and Science Roman Frigg and James Nguyen Forthcoming in Otávio Bueno, Gerorge Darby, Steven French and Dean Rickles (eds.): Thinking about Science, Reflecting on Art. London: Routledge, 2017. 1. Introduction A flame is moving along a fuse. It reaches a tyre, which starts rolling down a slope. It reaches the ground and moves horizontally for a short while before it starts climbing a tilted balance, its speed being just sufficient to pass the midpoint. This tips the balance to the other side and the tyre rolls down again. After having gone up and down another smaller balance it hits a board that is tied to a ladder. The ladder falls, hitting another board, which kicks the tyre in the direction of an oil barrel on top of which there is small trolley with a burning candle. The trolley starts moving and soon gets stuck under a metal grid with sparklers, which catch fire. This lights another fuse, setting off a small firework. A spark of the firework ignites a puddle of oil, and so on. This is the opening sequence of the 1987 film The Way Things Go by Swiss artists Fischli&Weiss. In the 29 minute long film we see a seemingly endless sequence of events involving1 physical objects such as tires, ladders, oil barrels, shoes and soap. The events are carefully arranged and subtly calibrated. They unfold according to exceptionless laws and yet there is an element of surprise in them. The sequence of events fascinates and even creates sense of suspense about what’s next (a reviewer for The Independent enthusiastically reported that watching The Way Things Go was like watching a Hitchcock film). -
PDF Download Warriors 3 Pdf Free Download
WARRIORS 3 PDF, EPUB, EBOOK George R R Martin,Gardner Dozois | 360 pages | 02 Aug 2011 | St Martin's Press | 9780765360281 | English | New York, United States Warriors 3 PDF Book The two player mode new to Dynasty Warriors 3 allows players to either go head-to-head in one-on-one fights or play co-operatively in any of the stages. Science Fiction. He gave high praise to how much the game was based on the original Romance of the Three Kingdoms story and even went as far as saying "All the costuming of the 3D models is ethnically authentic and beautifully lavished" whereas a number of reviews described the graphical quality as being plain and blurry Such as the said IGN review. Diana Gabaldon Goodreads Author Contributor. Archived from the original PDF on April 21, In co-operative play the characters retain their saved statistics, there are no alterations to the stage and the players gain the ability to perform a more powerful version of their Musou attack Special Attack. The Warriors Three were a team of elite Asgardian warriors, comprised of some of the best warriors of Asgard. Other books in the series. Namespaces Article Talk. Smartphone :. Something like that doesn't belong in an anthology like this one, in my opinion. IGN strongly criticized the Xbox version over the sound, both music and the voice acting. Nice diverse collection of stories! Start Your Free Trial. Zhu Rong and Nu Wa are exceptions as Zhu Rong was said to be the only female to have fought in that era and Nu Wa's character is fictional and based on ancient myth. -
Surtur Acts As Something of an Arms Dealer to the Archdukes, Surtur Supplying Them with Magical Iron Weapons from His Foundries for Use Against Their Foes the Demons
IMMORTALS HANDBOOK ASCENSION Devils: Surtur acts as something of an arms dealer to the archdukes, Surtur supplying them with magical iron weapons from his foundries for use against their foes the demons. In return the devils aid the fire giants Sir-toor whenever requested. Surtur does not trust the archdukes, but the deal Elder One (Divine Rank 24) has been a successful one up to now. Surtur does not want to drive a wedge Age: At least 1,000 millennia between the fire giants and the devils and ensures the outcast infernal Aliases: Surt, Surtr Grimsnes is out of sight when visited by diabolical delegations. Alignment: Lawful Evil Fey: The accursed servants of the god Frey are to be exterminated Allies (Surtur): None whenever encountered. This includes all chaotic good outsiders, elves, Allies (Surtur’s Avatar): Devils, Ordos (Sand Giants deity), Umbrax fey and their allies. Surtur has battled Frey in the past and rightfully fears (Shadow Giant deity) the sting of that god’s icy giantslaying sword. On the material plane Surtur Enemies (Surtur): Angels, Norse Pantheon, Ymir (imprisoned) has his fire giants burn down elven forests wherever possible. Enemies (Surtur’s Avatar): Fey, Norse Pantheon, Salamanders Genies: Surtur trades with both the Dao and the Efreeti. Rarely do such Home Plane: Muspelheim (Para-Elemental Plane of Magma) deals work in Surtur’s favor, as his usual threats and intimidations ring Nemesis: Ymir (Surtur), Frey (Surtur’s Avatar) hollow, for both the Dao and the Efreeti are ruled by greater powers. Pantheon: Giant Dynasty (member, Surtur’s Avatar), Norse Pantheon Giant Dynasty: Surtur exists on the fringes of the giantish dynasty, (Surtur) alienated to an extent as he is one of the few lawful aligned gods amidst a Portfolios: Fire and Earth (Surtur). -
The Subjectivity of Revenge: Senecan Drama and the Discovery of the Tragic in Kyd and Shakespeare
THE SUBJECTIVITY OF REVENGE: SENECAN DRAMA AND THE DISCOVERY OF THE TRAGIC IN KYD AND SHAKESPEARE JORDICORAL D.PHIL THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE SEPTEMBER 2001 But all the time life, always one and the same, always incomprehensibly keeping its identity, fills the universe and is renewed at every moment in innumerable combinations and metamorphoses. You are anxious about whether you will rise from the dead or not, but you have risen already - you rose from the dead when you were born and you didn't notice it. Will you feel pain? Do the tissues feel their disintegration? In other words, what will happen to your consciousness. But what is consciousness? Let's see. To try consciously to go to sleep is a sure way of having insomnia, to try to be conscious of one's own digestion is a sure way to upset the stomach. Consciousness is a poison when we apply it to ourselves. Consciousness is a beam of light directed outwards, it lights up the way ahead of us so that we do not trip up. It's like the head-lamps on a railway engine - if you turned the beam inwards there would be a catastrophe. 'So what will happen to your consciousness? Your consciousness, yours, not anybody else's. Well, what are you? That's the crux of the matter. Let's try to find out. What is it about you that you have always known as yourself? What are you conscious of in yourself? Your kidneys? Your liver? Your blood vessels? - No. -
Movie Review: "Thor: Ragnarok" Is Not Just for Serious Marvel Fans by Hellen Popa, Sun Sentinel, Adapted by Newsela Staff on 11.14.17 Word Count 480 Level 1160L
Movie review: "Thor: Ragnarok" is not just for serious Marvel fans By Hellen Popa, Sun Sentinel, adapted by Newsela staff on 11.14.17 Word Count 480 Level 1160L After a four-year hiatus, the Marvel series “Thor” comes back to theaters with a comedic twist and a 3-D experience. Photo by: Walt Disney Studio Spoiler alert: This movie review contains spoilers about the plot of "Thor: Ragnarok." After a four-year gap, the Marvel series “Thor” is back and in 3D. The comic-book movie franchise has hit theaters again with the anticipated film “Thor: Ragnarok.” This new one has a comedic twist that is distinct in the series, which has kept a somewhat serious tone, and there are even some members of “The Avengers” who make an appearance. This article is available at 5 reading levels at https://newsela.com. 1 A "Thord" Outing Returning to home planet Asgard after defeating a fire-spewing monster, Thor (played by Chris Hemsworth) encounters his brother Loki (Tom Hiddleston), who he thought was dead. In the previous movie, “Thor: The Dark World,” Loki disguised himself as their father to hide his existence from Thor. The pair retreat to Earth to find their father, Odin (Anthony Hopkins), only to stumble across another Marvel character, Dr. Strange (Benedict Cumberbatch), who tells them Odin is in Norway. Once found, Odin unveils a long-held secret — he has a daughter, Hela (Cate Blanchett, “Manifesto”), also known as “the goddess of death." Her escape from captivity will prompt Ragnarok, which is known as a prophesied “end of days” event.