Loki's Wolves
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Anti-Hero, Trickster? Both, Neither? 2019
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Tomáš Lukáč Deadpool – Anti-Hero, Trickster? Both, Neither? Master’s Diploma Thesis Supervisor: Jeffrey Alan Vanderziel, B.A. 2019 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Tomáš Lukáč 2 I would like to thank everyone who helped to bring this thesis to life, mainly to my supervisor, Jeffrey Alan Vanderziel, B.A. for his patience, as well as to my parents, whose patience exceeded all reasonable expectations. 3 Table of Contents Introduction ...…………………………………………………………………………...6 Tricksters across Cultures and How to Find Them ........................................................... 8 Loki and His Role in Norse Mythology .......................................................................... 21 Character of Deadpool .................................................................................................... 34 Comic Book History ................................................................................................... 34 History of the Character .............................................................................................. 35 Comic Book Deadpool ................................................................................................ 36 Films ............................................................................................................................ 43 Deadpool (2016) -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
1 Rubaiyat Khan 21H.301 Hesiod's Moral Teachings on Living In
1 Rubaiyat Khan 21H.301 Hesiod’s Moral Teachings on Living In Hesiod’s poem “Works and Days”, he explains to his brother how to live a good life. He describes both moral and practical ways of leading life. However, his emphasis lies on the moral teachings rather than the practical ones. One of the overarching themes of his work is the importance of being just in life. Hesiod believes that Zeus and the other almighty immortal Gods punish immoral men and reward moral ones. Therefore, men must not be unjust or unkind to one another. Some of his teachings are clearly moral For example, he mentions the importance of treating one’s parents well multiple times in the poem. Hesiod’s obsession with justice and morality can be inferred from this importance that he places on taking care of ones parents. To him, being disrespectful to ones aging parents is unjust and unfair because parents take care of their children when the children are young and unable to take care of themselves. Thus it is only fair and just to the parents that the children take care of them when they are too old to fend for themselves. Hesiod believes that it is not only justice that Zeus asks of people. He describes other criminal acts that he believes will make Zeus angry. He mentions wickedness, violence, seizing someone else’s property, being ungracious to a guest, adultery and cheating orphans as examples of other crimes that warrant Zeus’ wrath. “But for those who occupy themselves with violence and wickedness and brutal deeds, Kronos’ son, wide-seeing Zeus, marks out retribution. -
Marvel Magic Race Human (0 CP): Good Old Homo Sapiens. Much The
Marvel Magic Race Human (0 CP): Good old homo sapiens. Much the same as they are on pretty much everywhere. Individually they are rather insignificant physically and are generally nothing too impressive mentally or magically either, but earth and humanity play many pivotal roles on both the universal and multiversal scale, often ending up center stage – or right in the eye of the storm. And just because most of them are nothing impressive doesn’t mean that none of them are, as some humans are incredibly formidable even amongst the powerful beings of this world. Demon (200 CP): Demon isn’t a term meant to describe one uniform group of beings. Rather, it encompasses an incredibly diverse range of magical beings. Your appearance is largely up to you, allowing you to appear as anything from living flame to a classical demon with horns and bat wings to basically human or even something more bizarre such as a multi-headed snake. The only restriction is your base size must be between that of a squirrel and an average car. Your nature means that you’re likely to be at least several times stronger than a human as well as having natural talent with magic and more personal power to call on than humans. If you wish, you may instead choose to be the offspring of a demon and a human, with your natural form appearing to be a human but possessing the ability to take on more demoniac features when calling on your power or feeling anger. God (400): Perhaps the decadent gods of Olympus, the fierce warrior deities of Asgard, or perhaps completely alien gods worshipped by beings on other worlds. -
Limits, Malice and the Immortal Hulk
https://lthj.qut.edu.au/ LAW, TECHNOLOGY AND HUMANS Volume 2 (2) 2020 https://doi.org/10.5204/lthj.1581 Before the Law: Limits, Malice and The Immortal Hulk Neal Curtis The University of Auckland, New Zealand Abstract This article uses Kafka's short story 'Before the Law' to offer a reading of Al Ewing's The Immortal Hulk. This is in turn used to explore our desire to encounter the Law understood as a form of completeness. The article differentiates between 'the Law' as completeness or limitlessness and 'the law' understood as limitation. The article also examines this desire to experience completeness or limitlessness in the work of George Bataille who argued such an experience was the path to sovereignty. In response it also considers Francois Flahault's critique of Bataille who argued Bataille failed to understand limitlessness is split between a 'good infinite' and a 'bad infinite', and that it is only the latter that can ultimately satisfy us. The article then proposes The Hulk, especially as presented in Al Ewing's The Immortal Hulk, is a study in where our desire for limitlessness can take us. Ultimately it proposes we turn ourselves away from the Law and towards the law that preserves and protects our incompleteness. Keywords: Law; sovereignty; comics; superheroes; The Hulk Introduction From Jean Bodin to Carl Schmitt, the foundation of the law, or what we more readily understand as sovereignty, is marked by a significant division. The law is a limit in the sense of determining what is permitted and what is proscribed, but the authority for this limit is often said to derive from something unlimited. -
Thunder & Lightning Rulebook
Richard Borg On a fateful night, Loki the Trickster stole Odin’s Crown. The wrath of Odin the GAME SETUP AND Allfather was so great, he summoned his son, Thor the Thunder God, to retrieve this precious possession. In so doing, he also bestowed upon Thor his prized ring THE BATTLEFIELD of power and authority, Draupnir. Players choose who they wish to be: Thor or Loki. They then take the corresponding 50-card deck and figure. Loki had hoped for the opportunity to also steal Odin’s Ring and has now The players must sit opposite each other. gathered an army to do so. But Thor too has rallied an army of his own and the Each player shuffles their deck and draws 9 cards as their starting hand, which is kept hidden from their opponent. help from many Nordic gods. A fierce battle rages on as both Thor and Loki vie to The players place the remaining cards facedown as their deck. 0 ODIN’S RING 0 0 ODIN’S CROWN 0 acquire both of Odin’s treasures, for whosoever controls Odin’s Crown and Ring will Note: If a player draws Odin’s Ring/Crown as one of their first nine claim the throne of Asgard! cards, they show the card to their opponent, draw another card to OVERVIEW AND GOAL replace it, and shuffle the Ring/Crown card back into their deck. • If Odin’s Ring is challenged by Loki’s allies, • If Odin’s Crown is challenged by Thor’s allies, you lose the game. you lose the game. -
SFU Thesis Template Files
“To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes by Brett Pardy B.A., The University of the Fraser Valley, 2013 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication Faculty of Communication, Art, and Technology Brett Pardy 2016 SIMON FRASER UNIVERSITY Summer 2016 Approval Name: Brett Pardy Degree: Master of Arts Title: “To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes Examining Committee: Chair: Frederik Lesage Assistant Professor Zoë Druick Senior Supervisor Associate Professor Adel Iskander Supervisor Assistant Professor Michael Ma External Examiner Faculty Member Department of Criminology Kwantlen Polytechnic University Date Defended/Approved: June 16, 2016 ii Abstract The Marvel comics film adaptations have been some of the most successful Hollywood products of the post 9/11 period, bringing formerly obscure cultural texts into the mainstream. Through an analysis of the adaptation process of Marvel Entertainment’s superhero franchise from comics to film, I argue that a hegemonic American model of militarization has been used by Hollywood as a discursive formation with which to transform niche properties into mass market products. I consider the locations of narrative ambiguities in two key comics texts, The Ultimates (2002-2007) and The New Avengers (2005-2012), as well as in the film The Avengers (2012), and demonstrate the significant reorientation of the film franchise towards the American military’s “War on Terror”. While Marvel had attempted to produce film adaptations for decades, only under the new “militainment” discursive formation was it finally successful. -
Civil War Comics in Order
Civil War Comics In Order Rotative and tarry Marcos always hook-ups speculatively and straddles his battlers. Shallow Mitchael sometimes scant any parvenu smoodges tartly. Untoiling and subacidulous Anders visualizes almost eminently, though Aldrich officer his fieldstone handsel. Skrulls and men to atlantis chose to its first run in superhero registration act that will change about cap orders of war comics in civil order to it possible that want to genocide wants to see his Though a couple of reporters discover this, they decide not to go public as it could unravel the good they believe Tony Stark has done. The threat of imprisonment to all who did not cooperate only fueled his belief that he was correct. MCU connections in this one, aside from a brief cameo by Dum Dum Dugan. The Avengers, Thor, Iron Man, Ms. They were superfluous, imo, and do not advance the story in any way. Civil war of business. Monitoring performance to make your website faster. In it Cap has to go out to the desert to ask Hulk for help. It challenges the reader about the notion of the police state, that utopian and dystopian aspects of life are perhaps not as distant as humanity may assume. Tony placed inside all of their armors. What alcoholics refer to as a moment of clarity. Civil War established that Frank Castle had great respect for Steve Rogers even. The Marvel universe has never looked better or more epic. But once you do, this story is just so much damn fun. TPB acts as a prologue to this event. -
Put on the Mask
Alternate Scripts - Superheroes PUT ON THE MASK An Alternate Script for The Play's The Thing By Brian Engard For more information about The Play's The Thing and Magpie Games, visit us at www.magpiegames.com/theplay Alternate Scripts - Superheroes Biff! Bam! Pow! We all know what superheroes are. They can do things no normal person can, stand against forces the rest of us can't hope to combat, represent the ideals of our society -- even if they're ideals we've forgotten ourselves -- and they act as a beacon and an example for the rest of us. Superheroes also get into great, exciting fights and wear colorful Spandex uniforms. For all the dizzying number of superheroes (and villains!) out there, they're each subtly different from one another, each driven by his or her own motivations and background. Oh sure, eye lasers and the ability to fly are flashy and exciting and cool, but it's the human drama, the relationships and mortal struggles of these sometimes godlike beings that grounds them, makes them relatable, and makes us keep watching them. Sometimes superhero drama comes from the hero's need to see justice -- or vengeance -- done. Sometimes it's a need to protect that which the hero holds dear. Sometimes it's the struggle that comes with suddenly being thrust into a mantle of great power, and the enormous responsibility that comes with it. The only difference between a superhero and a supervillain is how the individual character reacts to these motives, how far she or he is willing to go to see justice -- or vengeance -- done, what lengths the character is willing to go to to protect something, or how the hero -- or villain -- handles that mantle of power and responsibility. -
Affiliation List
AFFILIATIONS 08/12/21 AFFILIATION LIST Below you will find a list of all current affiliations cards and characters on them. As more characters are added to the game this list will be updated. A-FORCE • She-Hulk (k) • Blade • Angela • Cable • Black Cat • Captain Marvel • Black Widow • Deadpool • Black Widow, Agent of S.H.I.E.L.D. • Hawkeye • Captain Marvel • Hulk • Crystal • Iron Fist • Domino • Iron Man • Gamora • Luke Cage • Medusa • Quicksilver • Okoye • Scarlet Witch • Scarlet Witch • She-Hulk • Shuri • Thor, Prince of Asgard • Storm • Vision • Valkyrie • War Machine • Wasp • Wasp ASGARD • Wolverine BLACK ORDER • Thor, Prince of Asgard (k) • Angela • Thanos, The Mad Titan (k) • Enchantress • Black Dwarf • Hela, Queen of Hel • Corvus Glaive • Loki, God of Mischief • Ebony Maw • Valkyrie • Proxima Midnight AVENGERS BROTHERHOOD OF MUTANTS • Captain America (Steve Rogers) (k) • Magneto (k) • Captain America (Sam Wilson) (k) • Mystique (k) • Ant-Man • Juggernaut • Beast • Quicksilver • Black Panther • Sabretooth • Black Widow • Scarlet Witch • Black Widow, Agent of S.H.I.E.L.D. • Toad Atomic Mass Games and logo are TM of Atomic Mass Games. Atomic Mass Games, 1995 County Road B2 W, Roseville, MN, 55113, USA, 1-651-639-1905. © 2021 MARVEL Actual components may vary from those shown. CABAL DARK DIMENSION • Red Skull (k) • Dormammu (k) • Sin (k) DEFENDERS • Baron Zemo • Doctor Strange (k) • Bob, Agent of Hydra • Amazing Spider-Man • Bullseye • Blade • Cassandra Nova • Daredevil • Crossbones • Ghost Rider • Enchantress • Hawkeye • Killmonger • Hulk • Kingpin • Iron Fist • Loki, God of Mischief • Luke Cage • Magneto • Moon Knight • Mister Sinister • Scarlet Witch • M.O.D.O.K. • Spider-Man (Peter Parker) • Mysterio • Valkyrie • Mystique • Wolverine • Omega Red • Wong • Sabretooth GUARDIANS OF THE GALAXY • Ultron k • Viper • Star-Lord ( ) CRIMINAL SYNDICATE • Angela • Drax the Destroyer • Kingpin (k) • Gamora • Black Cat • Groot • Bullseye • Nebula • Crossbones • Rocket Raccoon • Green Goblin • Ronan the Accuser • Killmonger INHUMANS • Kraven the Hunter • M.O.D.O.K. -
The Liminality of Loki
The Liminality of Loki ALLISON WOLF ABSTRACT: This article, the 2018 winner of the AASSC Gurli Aagaard Woods Undergraduate Publication Award, compares Victor Turner’s concept of liminality with common characteristics of trickster figures to show how the Norse god Loki is not only a trickster figure, but also a liminal one. As this article demonstrates, both trickster and liminal figures comment on a society’s social norms by challenging those social norms in order to enact change. Therefore, by closely examining the boundary-breaking nature of trickster figures as it relates to liminality, this article provides a fuller understanding of Loki’s character and his motivations. This critical analysis then points to the significance of what the presence of these figures could have meant for Old Norse society, as well as society today. RÉSUMÉ : Cet article, qui a remporté en 2018 le Gurli Aagaard Woods Undergraduate Publication Award (Prix Gurli Aagaard Woods pour les publications de premier cycle) de l’AAESC, compare le concept de liminalité introduit par Victor Turner aux caractéristiques communes des figures d’illusionnistes/« filous »/escrocs/ farceurs pour démontrer que le dieu nordique Loki n’est pas seulement une représentation du farceur, mais aussi une figure liminale. Comme le démontre cet article, les figures de farceurs et les figures liminales fournissent toutes deux un commentaire des normes sociales d’une société en les remettant en question afin donner vie à ce changement. Par conséquent, en examinant de près la nature révolutionnaire des figures de farceurs à la lumière de la liminalité, cet article permet de mieux comprendre le personnage de Loki et ses motivations. -
Comic Books Vs. Greek Mythology: the Ultimate Crossover for the Classical Scholar Andrew S
University of Texas at Tyler Scholar Works at UT Tyler English Department Theses Literature and Languages Spring 4-30-2012 Comic Books vs. Greek Mythology: the Ultimate Crossover for the Classical Scholar Andrew S. Latham Follow this and additional works at: https://scholarworks.uttyler.edu/english_grad Part of the English Language and Literature Commons Recommended Citation Latham, Andrew S., "Comic Books vs. Greek Mythology: the Ultimate Crossover for the Classical Scholar" (2012). English Department Theses. Paper 1. http://hdl.handle.net/10950/73 This Thesis is brought to you for free and open access by the Literature and Languages at Scholar Works at UT Tyler. It has been accepted for inclusion in English Department Theses by an authorized administrator of Scholar Works at UT Tyler. For more information, please contact [email protected]. COMIC BOOKS VS. GREEK MYTHOLOGY: THE ULTIMATE CROSSOVER FOR THE CLASSICAL SCHOLAR by ANDREW S. LATHAM A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English Department of Literature and Languages Paul Streufert, Ph.D., Committee Chair College of Arts and Sciences The University of Texas at Tyler May 2012 Acknowledgements There are entirely too many people I have to thank for the successful completion of this thesis, and I cannot stress enough how thankful I am that these people are in my life. In no particular order, I would like to dedicate this thesis to the following people… This thesis is dedicated to my mother and father, Mark and Seba, who always believe in me, despite all evidence to the contrary.