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Old Norse Mythology — Comparative Perspectives Old Norse Mythology— Comparative Perspectives
Publications of the Milman Parry Collection of Oral Literature No. 3 OLd NOrse MythOLOgy — COMParative PersPeCtives OLd NOrse MythOLOgy— COMParative PersPeCtives edited by Pernille hermann, stephen a. Mitchell, and Jens Peter schjødt with amber J. rose Published by THE MILMAN PARRY COLLECTION OF ORAL LITERATURE Harvard University Distributed by HARVARD UNIVERSITY PRESS Cambridge, Massachusetts & London, England 2017 Old Norse Mythology—Comparative Perspectives Published by The Milman Parry Collection of Oral Literature, Harvard University Distributed by Harvard University Press, Cambridge, Massachusetts & London, England Copyright © 2017 The Milman Parry Collection of Oral Literature All rights reserved The Ilex Foundation (ilexfoundation.org) and the Center for Hellenic Studies (chs.harvard.edu) provided generous fnancial and production support for the publication of this book. Editorial Team of the Milman Parry Collection Managing Editors: Stephen Mitchell and Gregory Nagy Executive Editors: Casey Dué and David Elmer Production Team of the Center for Hellenic Studies Production Manager for Publications: Jill Curry Robbins Web Producer: Noel Spencer Cover Design: Joni Godlove Production: Kristin Murphy Romano Library of Congress Cataloging-in-Publication Data Names: Hermann, Pernille, editor. Title: Old Norse mythology--comparative perspectives / edited by Pernille Hermann, Stephen A. Mitchell, Jens Peter Schjødt, with Amber J. Rose. Description: Cambridge, MA : Milman Parry Collection of Oral Literature, 2017. | Series: Publications of the Milman Parry collection of oral literature ; no. 3 | Includes bibliographical references and index. Identifers: LCCN 2017030125 | ISBN 9780674975699 (alk. paper) Subjects: LCSH: Mythology, Norse. | Scandinavia--Religion--History. Classifcation: LCC BL860 .O55 2017 | DDC 293/.13--dc23 LC record available at https://lccn.loc.gov/2017030125 Table of Contents Series Foreword ................................................... -
Captain America
The Star-spangled Avenger Adapted from Wikipedia, the free encyclopedia Captain America first appeared in Captain America Comics #1 (Cover dated March 1941), from Marvel Comics' 1940s predecessor, Timely Comics, and was created by Joe Simon and Jack Kirby. For nearly all of the character's publication history, Captain America was the alter ego of Steve Rogers , a frail young man who was enhanced to the peak of human perfection by an experimental serum in order to aid the United States war effort. Captain America wears a costume that bears an American flag motif, and is armed with an indestructible shield that can be thrown as a weapon. An intentionally patriotic creation who was often depicted fighting the Axis powers. Captain America was Timely Comics' most popular character during the wartime period. After the war ended, the character's popularity waned and he disappeared by the 1950s aside from an ill-fated revival in 1953. Captain America was reintroduced during the Silver Age of comics when he was revived from suspended animation by the superhero team the Avengers in The Avengers #4 (March 1964). Since then, Captain America has often led the team, as well as starring in his own series. Captain America was the first Marvel Comics character adapted into another medium with the release of the 1944 movie serial Captain America . Since then, the character has been featured in several other films and television series, including Chris Evans in 2011’s Captain America and The Avengers in 2012. The creation of Captain America In 1940, writer Joe Simon conceived the idea for Captain America and made a sketch of the character in costume. -
The Avengers (Action) (2012)
1 The Avengers (Action) (2012) Major Characters Captain America/Steve Rogers...............................................................................................Chris Evans Steve Rogers, a shield-wielding soldier from World War II who gained his powers from a military experiment. He has been frozen in Arctic ice since the 1940s, after he stopped a Nazi off-shoot organization named HYDRA from destroying the Allies with a mystical artifact called the Cosmic Cube. Iron Man/Tony Stark.....................................................................................................Robert Downey Jr. Tony Stark, an extravagant billionaire genius who now uses his arms dealing for justice. He created a techno suit while kidnapped by terrorist, which he has further developed and evolved. Thor....................................................................................................................................Chris Hemsworth He is the Nordic god of thunder. His home, Asgard, is found in a parallel universe where only those deemed worthy may pass. He uses his magical hammer, Mjolnir, as his main weapon. The Hulk/Dr. Bruce Banner..................................................................................................Mark Ruffalo A renowned scientist, Dr. Banner became The Hulk when he became exposed to gamma radiation. This causes him to turn into an emerald strongman when he loses his temper. Hawkeye/Clint Barton.........................................................................................................Jeremy -
Number Symbolism in Old Norse Literature
Háskóli Íslands Hugvísindasvið Medieval Icelandic Studies Number Symbolism in Old Norse Literature A Brief Study Ritgerð til MA-prófs í íslenskum miðaldafræðum Li Tang Kt.: 270988-5049 Leiðbeinandi: Torfi H. Tulinius September 2015 Acknowledgements I would like to thank firstly my supervisor, Torfi H. Tulinius for his confidence and counsels which have greatly encouraged my writing of this paper. Because of this confidence, I have been able to explore a domain almost unstudied which attracts me the most. Thanks to his counsels (such as his advice on the “Blóð-Egill” Episode in Knýtlinga saga and the reading of important references), my work has been able to find its way through the different numbers. My thanks also go to Haraldur Bernharðsson whose courses on Old Icelandic have been helpful to the translations in this paper and have become an unforgettable memory for me. I‟m indebted to Moritz as well for our interesting discussion about the translation of some paragraphs, and to Capucine and Luis for their meticulous reading. Any fault, however, is my own. Abstract It is generally agreed that some numbers such as three and nine which appear frequently in the two Eddas hold special significances in Norse mythology. Furthermore, numbers appearing in sagas not only denote factual quantity, but also stand for specific symbolic meanings. This tradition of number symbolism could be traced to Pythagorean thought and to St. Augustine‟s writings. But the result in Old Norse literature is its own system influenced both by Nordic beliefs and Christianity. This double influence complicates the intertextuality in the light of which the symbolic meanings of numbers should be interpreted. -
Captain America
TIMELY COMICS MARCH 1941 CAPTAIN AMERICA Captain America is a fictional character that appears in comic books published by Marvel Comics. Early Years and WWII Steve Rogers was a scrawny fine arts student specializing in industrialization in the 1940's before America entered World War II. He attempted to enlist in the army only to be turned away due to his poor constitution. A U.S. officer offered Rogers an alternative way to serve his country by being a test subject in project, Operation: Rebirth, a top secret defense research project designed to create physically superior soldiers. Rogers accepted and after a rigorous physical and combat training and selection process was selected as the first test subject. He was given injections and oral ingestion of the formula dubbed the "Super Soldier Serum" developed by the scientist Dr. Abraham Erskine. Rogers was then exposed to a controlled burst of "Vita-Rays" that activated and stabilized the chemicals in The Golden Age of Comics his system. The process successfully altered his physiology from its frail state The Golden Age of Comic Books among them Superman, Batman, to the maximum of human efficiency, was a period in the history of Captain America, and Wonder including greatly enhanced musculature American comic books, generally Woman. and reflexes. After the assassination of Dr. thought of as lasting from the late Erskine. Roger was re-imagined as a The period saw the arrival of the 1930s until the late 1940s. During superhero who served both as a counter- comic book as a mainstream art intelligence agent and a propaganda this time, modern comic books form, and the defining of the symbol to counter Nazi Germany's head of were first published and enjoyed a medium's artistic vocabulary and terrorist operations, the Red Skull. -
Protocols for Spiderman Made by Tony
Protocols For Spiderman Made By Tony Harmon remains guardian: she joke her ixia oysters too abstrusely? Biddable Nunzio contacts or recap some Arachnida slangily, however pervertible Hugo snapped faithlessly or enthuse. When Trip unglue his skylarker rummages not obstreperously enough, is Sarge shut? The dark plating to him most powerful current avengers spiderman specialize in real stunts, made up this throwaway line that. This is a little below their paygrade. European users agree to the data transfer policy. We know that made to stark, and books will be peter turned to stay away. You will start seeing emails from us soon. Action figures marvel. He had protocols for use them up the first gives it also made a beat dad? She is also raising the next generation of comics fans, a generally happy one, and performs like Stark. Man is one of conversations and intend to shoot peter answered, thinking of protocols for spiderman made by tony stark hated it becomes the. Watch One Marvel Fan Craft Metal Hulk Hands That Can Smash Through Concrete! Armor Chronology: Iron Man Wiki is a FANDOM Comics Community. Heroes need to act. Toomes escapes and a malfunctioning weapon tears the ferry in half. After losing someone like it should be succeeded by a dancing and! Man, Tony decides to take away the suit he gave Peter. Next time i think critically injures jefferson of protocols for spiderman made by tony when miles morales would call you can sort of. Videos would work! Click on his crew out of the folks over the elevator just right to save the. -
Marvels--Chapter Three--Captain America
MARVELS SERIAL—CHAPTER THREE CAPTAIN AMERICA By Richard Ashcraft BASED ON MARVEL COMICS’ GOLDEN-AGE HEROES Written in 2012. [email protected] 1. ALL-AMERICAN GIRL I’d use this one. Namor falling in love with Betty Dean is . close to the truth. And Namor did gain his super-powers from Poseidon. ALL-AMERICAN GIRL (V.O.) In a roundabout way. VILLAIN TWO (V.O.) Now they’re talking about the girl we wanted to . see. VILLAIN ONE (V.O.) Oh, her. She would have been a great prisoner of war. OTTO Did Namor and Betty ever fall in love? ALL-AMERICAN GIRL They were at one time. But they lost touch with each other after the war. Like so many other people. OTTO That’s too bad. He hands her another paper-clipped set of papers. He smirks. OTTO (CONT’D) But this will make you smile. The secret origin of Captain America. She reads a few pages. Then she is puzzled. ALL-AMERICAN GIRL The shield of Lancelot? EXT. AN APARTMENT BUILDING – EARLY EVENING SUPER: NEW YORK CITY, SPRING 1941 2. AN UNINKED COMIC STRIP The title is JOE AND JACK. Respectively, they are CARICATURES OF JOE SIMON AND JACK KIRBY, Captain America’s creators. They are behind the small FORBUSH MAN. Bullets bounce off of the hero’s body, but some slugs almost hit Joe and Jack’s heads. STEVE (V.O.) (super-hero voice) Stand behind me, innocent bystanders! I can withstand their bullets! (now normal voice) We could stand this better if you would just stand up, Mystery Man! INT. -
Fantastic Four Compendium
MA4 6889 Advanced Game Official Accessory The FANTASTIC FOUR™ Compendium by David E. Martin All Marvel characters and the distinctive likenesses thereof The names of characters used herein are fictitious and do are trademarks of the Marvel Entertainment Group, Inc. not refer to any person living or dead. Any descriptions MARVEL SUPER HEROES and MARVEL SUPER VILLAINS including similarities to persons living or dead are merely co- are trademarks of the Marvel Entertainment Group, Inc. incidental. PRODUCTS OF YOUR IMAGINATION and the ©Copyright 1987 Marvel Entertainment Group, Inc. All TSR logo are trademarks owned by TSR, Inc. Game Design Rights Reserved. Printed in USA. PDF version 1.0, 2000. ©1987 TSR, Inc. All Rights Reserved. Table of Contents Introduction . 2 A Brief History of the FANTASTIC FOUR . 2 The Fantastic Four . 3 Friends of the FF. 11 Races and Organizations . 25 Fiends and Foes . 38 Travel Guide . 76 Vehicles . 93 “From The Beginning Comes the End!” — A Fantastic Four Adventure . 96 Index. 102 This book is protected under the copyright laws of the United States of America. Any reproduction or other unauthorized use of the material or artwork contained herein is prohibited without the express written consent of TSR, Inc., and Marvel Entertainment Group, Inc. Distributed to the book trade in the United States by Random House, Inc., and in Canada by Random House of Canada, Ltd. Distributed to the toy and hobby trade by regional distributors. All characters appearing in this gamebook and the distinctive likenesses thereof are trademarks of the Marvel Entertainment Group, Inc. MARVEL SUPER HEROES and MARVEL SUPER VILLAINS are trademarks of the Marvel Entertainment Group, Inc. -
Fantastic Four Kree/Skrull Alliance Cotati Avengers
AVENGERS CAPTAIN CAPTAIN BLACK AMERICA IRON MAN MARVEL PANTHER THOR MANTIS WICCAN FANTASTIC FOUR MR. THE INVISIBLE THE HUMAN THE POWERHOUSE BRAINSTORM SPIDER-MAN WOLVERINE FANTASTIC WOMAN TORCH THING KREE/SKRULL ALLIANCE EMPEROR SUPER- CAPTAIN R’KLLL MUR-G’NN HULKLING SKRULL GLORY COTATI QUOI SWORDSMAN HULK After years of conflict, the Kree and Skrull Empires suddenly united under the leadership of Emperor Dorrek VIII, the Young Avenger and Kree/Skrull hybrid known as Hulkling. His first act as Emperor was to order their combined forces to Earth to defeat their mutual enemy, the plantlike race known as the Cotati. Led by Quoi, the prophesied Celestial Messiah, and his father, the Swordsman, the Cotati plan to eliminate all animal life --starting with Earth. The united members of the Avengers and Fantastic Four have been defending the planet from the invading Cotati but were unable to stop them from planting the seeds for the Death Blossom. Once it blooms, the Cotati will have control of all plant life in the galaxy. Captain Marvel and the Human Torch teamed up with former Young Avenger Wiccan, who revealed he and Hulkling had recently married. He also exposed Emperor Hulking as R’Klll, the former Skrull empress, in disguise. But while Wiccan and his allies freed the true Hulkling from captivity, they were too late to stop R’Klll from activating the Pyre, a weapon that will end the threat of the Cotati forever--by detonating Earth’s sun! story Al Ewing & Dan Slott script Al Ewing artist Valerio Schiti color artist Marte Gracia letterer VC’s Joe Caramagna cover Jim Cheung & Jay David Ramos variant covers Jim Cheung & Jay David Ramos; Michael Cho; John Tyler Christopher; Tony Daniel & Frank D’Armata; Alexander Lozano & Wade von Grawbadger; Mike McKone & Morry Hollowell; Mike Mignola graphic designer Carlos Lao assistant editor Martin Biro associate editor Alanna Smith editor Tom Brevoort editor in chief C.B. -
Etherology, Or, the Philosophy of Mesmerism
TUFTS COLLEGE Tufts College Library « PHRENOLOG1.0AL BUST. See Page 164. • E THEE 0 LOG Y; OR, THE PHILOSOPHY OF MESMERISM . AND PHRENOLOGY: INCLUDING A NEW PHILOSOPHY OF SLEEP AND OF CONSCIOUSNESS, WITH A REVIEW OF THE PRETENSIONS OF NEUROLOGY AND PHRENO-MAGNETISM BY J. STANLEY GRIMES, COUNSELLOR AT LAW, FORMERLY PRESIDENT OF THE WESTERN PHRENOLOGICAL SOCIETY, PROFESSOR OF MEDICAL JURISPRUDENCE IN THE CASTLETON MEDICAL COLLEGE AND AUTHOR OF 4 A NEW SYSTEM OF PHRENOLOGY.' All the known phenomena of the universe may he referred to three general princi- ples, viz.: Matter, Motion, and Consciousness.—p. 17. NEW YORK: SAXTON AND MILES, NO. 205 BROADWAY PHILADELPHIA :-J AMES M. CAMPBELL. BOSTON I SAXTON, PEIRCE & CO. 1845. year by Entered according to Act of Congress, in the 1845, J. STANLEY GRIMES, the Southern District In the Clerk's Office of the District Court of of New York. 1 i m CONTENTS. SECTION I. page. SYNOFSIS OF ETHEROLOGY . 17 SECTION II. HISTORY OF ETHERIUM ..... 39 Ignorance of the Ancients concerning the causes of Ethe- rean Phenomena — Witchcraft — Divination — Magic — Discoveries which led to a Scientific Knowledge of Ethe- ropathy—Van Helmot—Mesmer—His Career—D'Eslon —Adverse Report of the French Commissioners—Foissac and the Academy of Medicine—Their favorable report —Gall—La Place. SECTION III. NATURE OF ETHERIUM ..... 75 Theory of Light—Of Heat—Of Electricity—Of Magnetism— Of Gravitation—Newton's Conjecture—Rev. Mr. Town- shend on the Mesmeric Medium—Sunderland's Notions —Animal Electricity—Experiments of Crosse—Electric Fishes. SECTION IV. OXYGEN ........ 127 SECTION V. PHILOSOPHY OF SLEEP 130 Liebig's Error. -
Bioshift Pass-Through UV-C Germicidal Chamber
BioShift Pass-Through UV-C Germicidal Chamber - Instruction Manual This manual provides user guidelines and additional operation instructions for the Small BioShift Pass-Through UV-C Germicidal Chamber. (Model 24-0200, 12NC: 929002100322) For service or parts call your sales representative, visit our website: www.once.lighting/uv-c Or contact us at: Once Inc. United States Germany Poland 15255 23rd Ave N Am Südfeld 7 Wloclawska 167 Plymouth, MN 55447 49377 Vechta 87-100 Tourn +1 (763) 381-5621 +49 (0) 4441 8898-10 +48 (56) 699-5330 [email protected] [email protected] [email protected] TABLE OF CONTENTS Introduction ................................................................................................................................................ 2 Specifications .............................................................................................................................................. 3 Safety ......................................................................................................................................................... 4-5 Installation ................................................................................................................................................... 6 Touchscreen Display ............................................................................................................................ 7-9 Home Screen Components ................................................................................................ 7 Maintenance Screen -
Department of Political Science Chair of Gender Politics Wonder Woman
Department of Political Science Chair of Gender Politics Wonder Woman and Captain Marvel as Representation of Women in Media Sara Mecatti Prof. Emiliana De Blasio Matr. 082252 SUPERVISOR CANDIDATE Academic Year 2018/2019 1 Index 1. History of Comic Books and Feminism 1.1 The Golden Age and the First Feminist Wave………………………………………………...…...3 1.2 The Early Feminist Second Wave and the Silver Age of Comic Books…………………………....5 1.3 Late Feminist Second Wave and the Bronze Age of Comic Books….……………………………. 9 1.4 The Third and Fourth Feminist Waves and the Modern Age of Comic Books…………...………11 2. Analysis of the Changes in Women’s Representation throughout the Ages of Comic Books…..........................................................................................................................................................15 2.1. Main Measures of Women’s Representation in Media………………………………………….15 2.2. Changing Gender Roles in Marvel Comic Books and Society from the Silver Age to the Modern Age……………………………………………………………………………………………………17 2.3. Letter Columns in DC Comics as a Measure of Female Representation………………………..23 2.3.1 DC Comics Letter Columns from 1960 to 1969………………………………………...26 2.3.2. Letter Columns from 1979 to 1979 ……………………………………………………27 2.3.3. Letter Columns from 1980 to 1989…………………………………………………….28 2.3.4. Letter Columns from 19090 to 1999…………………………………………………...29 2.4 Final Data Regarding Levels of Gender Equality in Comic Books………………………………31 3. Analyzing and Comparing Wonder Woman (2017) and Captain Marvel (2019) in a Framework of Media Representation of Female Superheroes…………………………………….33 3.1 Introduction…………………………….…………………………………………………………33 3.2. Wonder Woman…………………………………………………………………………………..34 3.2.1. Movie Summary………………………………………………………………………...34 3.2.2.Analysis of the Movie Based on the Seven Categories by Katherine J.