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Peter Pan As a Trickster Figure 2013
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Teaching English Language and Literature for Secondary Schools Bc. Eva Valentová The Betwixt and Between: Peter Pan as a Trickster Figure Master‘s Diploma Thesis Supervisor: doc. Michael Matthew Kaylor, Ph.D. 2013 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Eva Valentová 2 I would like to thank my supervisor, doc. Michael Matthew Kaylor, Ph.D., for his kind help and valuable advice. 3 Table of Contents Introduction ....................................................................................................................... 5 1 In Search of the True Trickster .................................................................................. 7 2 The Betwixt and Between: Peter Pan as a Trickster Figure .................................... 26 2.1 J. M. Barrie: A Boy Trapped in a Man‘s Body ................................................ 28 2.2 Mythological Origins of Peter Pan ................................................................... 35 2.3 Victorian Child: An Angel or an Animal? ....................................................... 47 2.4 Neverland: The Place where Dreams Come True ............................................ 67 Conclusion ...................................................................................................................... 73 Appendix ........................................................................................................................ -
Non-Wood Forest Products from Conifers
Page 1 of 8 NON -WOOD FOREST PRODUCTS 12 Non-Wood Forest Products From Conifers FAO - Food and Agriculture Organization of the United Nations The designations employed and the presentation of material in this publication do not imply the expression of any opinion whatsoever on the part of the Food and Agriculture Organization of the United Nations concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. M-37 ISBN 92-5-104212-8 (c) FAO 1995 TABLE OF CONTENTS FOREWORD ACKNOWLEDGMENTS ABBREVIATIONS INTRODUCTION CHAPTER 1 - AN OVERVIEW OF THE CONIFERS WHAT ARE CONIFERS? DISTRIBUTION AND ABUNDANCE USES CHAPTER 2 - CONIFERS IN HUMAN CULTURE FOLKLORE AND MYTHOLOGY RELIGION POLITICAL SYMBOLS ART CHAPTER 3 - WHOLE TREES LANDSCAPE AND ORNAMENTAL TREES Page 2 of 8 Historical aspects Benefits Species Uses Foliage effect Specimen and character trees Shelter, screening and backcloth plantings Hedges CHRISTMAS TREES Historical aspects Species Abies spp Picea spp Pinus spp Pseudotsuga menziesii Other species Production and trade BONSAI Historical aspects Bonsai as an art form Bonsai cultivation Species Current status TOPIARY CONIFERS AS HOUSE PLANTS CHAPTER 4 - FOLIAGE EVERGREEN BOUGHS Uses Species Harvesting, management and trade PINE NEEDLES Mulch Decorative baskets OTHER USES OF CONIFER FOLIAGE CHAPTER 5 - BARK AND ROOTS TRADITIONAL USES Inner bark as food Medicinal uses Natural dyes Other uses TAXOL Description and uses Harvesting methods Alternative -
MYTHOLOGY – ALL LEVELS Ohio Junior Classical League – 2012 1
MYTHOLOGY – ALL LEVELS Ohio Junior Classical League – 2012 1. This son of Zeus was the builder of the palaces on Mt. Olympus and the maker of Achilles’ armor. a. Apollo b. Dionysus c. Hephaestus d. Hermes 2. She was the first wife of Heracles; unfortunately, she was killed by Heracles in a fit of madness. a. Aethra b. Evadne c. Megara d. Penelope 3. He grew up as a fisherman and won fame for himself by slaying Medusa. a. Amphitryon b. Electryon c. Heracles d. Perseus 4. This girl was transformed into a sunflower after she was rejected by the Sun god. a. Arachne b. Clytie c. Leucothoe d. Myrrha 5. According to Hesiod, he was NOT a son of Cronus and Rhea. a. Brontes b. Hades c. Poseidon d. Zeus 6. He chose to die young but with great glory as opposed to dying in old age with no glory. a. Achilles b. Heracles c. Jason d. Perseus 7. This queen of the gods is often depicted as a jealous wife. a. Demeter b. Hera c. Hestia d. Thetis 8. This ruler of the Underworld had the least extra-marital affairs among the three brothers. a. Aeacus b. Hades c. Minos d. Rhadamanthys 9. He imprisoned his daughter because a prophesy said that her son would become his killer. a. Acrisius b. Heracles c. Perseus d. Theseus 10. He fled burning Troy on the shoulder of his son. a. Anchises b. Dardanus c. Laomedon d. Priam 11. He poked his eyes out after learning that he had married his own mother. -
Silencing the Female Voice in Longus and Achilles Tatius
Silencing the female voice in Longus and Achilles Tatius Word Count: 12,904 Exam Number: B052116 Classical Studies MA (Hons) School of History, Classics and Archaeology University of Edinburgh B052116 Acknowledgments I am indebted to the brilliant Dr Calum Maciver, whose passion for these novels is continually inspiring. Thank you for your incredible supervision and patience. I’d also like to thank Dr Donncha O’Rourke for his advice and boundless encouragement. My warmest thanks to Sekheena and Emily for their assistance in proofreading this paper. To my fantastic circle of Classics girls, thank you for your companionship and humour. Thanks to my parents for their love and support. To Ben, for giving me strength and light. And finally, to the Edinburgh University Classics Department, for a truly rewarding four years. 1 B052116 Table of Contents Acknowledgments………………………………………………………………………….1 List of Abbreviations………………………………………………………………………3 Introduction ……………………………………………………………………………….4 Chapter 1: Through the Male Lens………………………………………………………6 The Aftertaste of Sophrosune……………………………………………………………….6 Male Viewers and Voyeuristic Fantasy.…………………………………………………....8 Narratorial Manipulation of Perspective………………………………………………….11 Chapter 2: The Mythic Hush…………………………………………………………….15 Echoing Violence in Longus……………………………………………………………….16 Making a myth out of Chloe………………………………………………………………..19 Leucippe and Europa: introducing the mythic parallel……………………………………21 Andromeda, Philomela and Procne: shifting perspectives………………………………...22 Chapter 3: Rupturing the -
Rubens Was Artist, Scholar, Diplomat--And a Lover of Life
RUBENS WAS ARTIST, SCHOLAR, DIPLOMAT--AND A LOVER OF LIFE An exhibit at Boston's Museum of Fine Arts shows that this Flemish genius truly lived in the right place at the right time by Henry Adams Smithsonian, October, 1993 Of all the great European Old Masters, Rubens has always been the most difficult and puzzling for Americans. Thomas Eakins, the famed American portraitist, once wrote that Rubens' paintings should be burned. Somewhat less viciously, Ernest Hemingway made fun of his fleshy nudes—which have given rise to the adjective "Rubenesque"—in a passage of his novel A Farewell to Arms. Here, two lovers attempt to cross from Italy into Switzerland in the guise of connoisseurs of art. While preparing for their assumed role, they engage in the following exchange: "'Do you know anything about art?' "'Rubens,' said Catherine. "'Large and fat,' I said." Part of the difficulty, it is clear, lies in the American temperament. Historically, we have preferred restraint to exuberance, been uncomfortable with nudes, and admired women who are skinny and twiglike rather than abundant and mature. Moreover, we Americans like art to express private, intensely personal messages, albeit sometimes strange ones, whereas Rubens orchestrated grand public statements, supervised a large workshop and absorbed the efforts of teams of helpers into his own expression. In short, Rubens can appear too excessive, too boisterous and too commercial. In addition, real barriers of culture and At the age of 53, a newly married Rubens celebrated by painting the joyous, nine-foot- background block appreciation. Rubens wide Garden of Love. -
The Revelation of the Corpse. Poetry, Fiction, and Magic 1
THE REVELATION OF THE CORPSE. POETRY, FICTION, AND MAGIC 1. Necromancy, that is the evocation and questioning of a dead person in order to gain knowledge otherwise unattainable by the living, was a wide- spread practice from the remotest antiquity. It is well attested in the ancient Mesopotamian civilizations, and it also appears in the Bible, in which the best-known case is the evocation of Samuel’s soul by Saul through the agency of the witch of Endor1. In the Greek and the Roman world necromancy is already attested in Homer – the famous Nevkuia of the eleventh book of the Odyssey – and its actual practice is documented down to the end of antiquity, though a social stigma was often attached to it, especially at Rome2. Hopfner, in his great work on Egyptian revelation magic, distinguished three types of necromancy, which he terms Greek-Homeric, ‘oriental’, and mixed3. According to him, the first and the third type are documented by the literary tradition. The first is represented by the necromancies we find in Homer, Aeschylus (in the Persians), Virgil (in the sixth book of the Aeneid), Seneca (in his Oedipus), and Silius Italicus (in the thirteenth book of the Punica). The mixed type is exemplified by the three necromancies we are going to examine, found in Lucan, Apuleius, and Heliodorus, and also by those appearing in Horace (in the eighth satire of the first book), Statius (in the fourth book of the Thebaid), and by several works of Lucian’s. Finally, the purely ‘oriental’ type is represented by the Greek magical papyri found in Egypt and collected by Preisendanz, and also by the defixiones, the curses and spells preserved on engraved sheets of metal4. -
Nr 222 Native Tree, Shrub, & Herbaceous Plant
NR 222 NATIVE TREE, SHRUB, & HERBACEOUS PLANT IDENTIFICATION BY RONALD L. ALVES FALL 2014 NR 222 by Ronald L. Alves Note to Students NOTE TO STUDENTS: THIS DOCUMENT IS INCOMPLETE WITH OMISSIONS, ERRORS, AND OTHER ITEMS OF INCOMPETANCY. AS YOU MAKE USE OF IT NOTE THESE TRANSGRESSIONS SO THAT THEY MAY BE CORRECTED AND YOU WILL RECEIVE A CLEAN COPY BY THE END OF TIME OR THE SEMESTER, WHICHEVER COMES FIRST!! THANKING YOU FOR ANY ASSISTANCE THAT YOU MAY GIVE, RON ALVES. Introduction This manual was initially created by Harold Whaley an MJC Agriculture and Natural Resources instruction from 1964 – 1992. The manual was designed as a resource for a native tree and shrub identification course, Natural Resources 222 that was one of the required courses for all forestry and natural resource majors at the college. The course and the supporting manual were aimed almost exclusively for forestry and related majors. In addition to NR 222 being taught by professor Whaley, it has also been taught by Homer Bowen (MJC 19xx -), Marlies Boyd (MJC 199X – present), Richard Nimphius (MJC 1980 – 2006) and currently Ron Alves (MJC 1974 – 2004). Each instructor put their own particular emphasis and style on the course but it was always oriented toward forestry students until 2006. The lack of forestry majors as a result of the Agriculture Department not having a full time forestry instructor to recruit students and articulate with industry has resulted in a transformation of the NR 222 course. The clientele not only includes forestry major, but also landscape designers, environmental horticulture majors, nursery people, environmental science majors, and people interested in transforming their home and business landscapes to a more natural venue. -
Sources of Photographs and Indexes Sources of Photographs
SOURCES OF PHOTOGRAPHS AND INDEXES SOURCES OF PHOTOGRAPHS H.M. the Queen: Fig. 181 London, A.C.Cooper: Figs.12, 23, 31, 47-50, 53, Althorp, The Earl Spencer: Fig. 13 71, 82, 102, 129, 160, 172, 176 Amsterdam, Fotocommissie Rijksmuseum: London, Courtauld Institute Galleries: Figs.147, F ig.87 149 Amsterdam, Gemeentemusea: Fig.45 London, J.Freeman: Figs.16, 30 A n tw e rp , J. D e M ae y e r: Figs. 17, 18 London, National Gallery: Figs.9, 10, 85, 110-112, Antwerp, Rubenianum: Figs.2, 4, 5, 6, 11, 14, 152, 200, 201 15, 39 , 43 , 44 , 46 , 55 , 66-69, 7o, 74, 74 , 78, 81, London, S.Newbery: Figs. 165, 227 90, 91, 93, 98, lo i, 105, 108, 121, 125, 126, 128, London, H.J.Orgler: Fig.229 131, 132, 135, 136, 138, 139, 142, 146, 150, 151, London, Royal Academy: Fig.116 156, 157, 159, 162, 163, 166, 167, 169-171, 174, Madrid, Museo del Prado: Figs.3, 76 175, 177, 178, 189, 193, 198, 203, 208-213, 2,18, Munich, Bayerische Staatsgemaldesammlungen : 222, 228, 234, 240, 241, 111. p.206 Figs.24-27, 29, 42, 84, 92, 145, 184-188, 192, Antwerp, ’t Felt: Fig.207 220, 239 Barcelona, Mas: Fig.22 New York, Metropolitan Museum of Art: Berlin, Staatliche Museen Preussischer Kultur- Figs.117, 133, 195-197, 135 besitz: Fig. 191 New York, Pierpont Morgan Library: Fig.230 Berlin (DDR), Staatliche Museen: Fig.83 Nîmes, Musée des Beaux-Arts: Fig.32 Brunswick, Herzog Anton-Ulrich Museum: Paris, Archives Photographiques: Figs.97, 119, Fig.216 123, 124 Brussels, A .C .L.: Figs.120, 122, 153, 223 Paris, Bibliothèque Nationale: Fig.237 Brussels, Bibliothèque Royale: Fig.236 Paris, B u llo z: Figs.96, 226 Brussels, Speltdoorn: Fig.109 Paris, Giraudon: Fig.118 Cleveland, The Cleveland Museum of Art : Paris, Réunion des Musées Nationaux: Figs. -
Self-Portraiture 1400-1700
9 Self-Portraiture 1400–1700 H. Perry Chapman In his biography of Albrecht Dürer, published in Het schilder-boeck (The Painter Book, 1604), Karel van Mander describes holding in his hands Dürer’s Self- Portrait of 1500 (fig. 9.1).1 Van Mander, the Dutch painter-biographer who wrote the lives of the Netherlandish and German painters (see chapter 24), was on his way home from Italy in 1577. He had stopped in Nuremberg, where he saw Dürer’s Self-Portrait in the town hall. Van Mander’s account conveys Dürer’s fame, as both the greatest German artist of the Renaissance and a maker of self- portraits. It tells us that self-portraits were collected and displayed, in this case by the city of Nuremberg. Above all, Van Mander’s remarks demonstrate that, by 1600, self-portrait was a concept. Though there was as yet no term for self- portrait (autoritratto dates to the eighteenth century, Selbstbildniss and “self-portrait” to the nineteenth), a portrait of an artist made by that artist was regarded as a distinctive pictorial type. The self-portrait had acquired a mystique, because the artist had come to be regarded as a special person with a special gift. The topos “every painter paints himself” conveyed the idea that a painter invariably put something of him/herself into his/her art. More than any other kind of artistic creation, the self-portrait was regarded as a manifestation of the artist’s ineffable presence in the work. Today we tend to think of self-portrayal as a private process and of the self- portrait as the product of introspection. -
For a Falcon
New Larousse Encyclopedia of Mythology Introduction by Robert Graves CRESCENT BOOKS NEW YORK New Larousse Encyclopedia of Mythology Translated by Richard Aldington and Delano Ames and revised by a panel of editorial advisers from the Larousse Mvthologie Generate edited by Felix Guirand and first published in France by Auge, Gillon, Hollier-Larousse, Moreau et Cie, the Librairie Larousse, Paris This 1987 edition published by Crescent Books, distributed by: Crown Publishers, Inc., 225 Park Avenue South New York, New York 10003 Copyright 1959 The Hamlyn Publishing Group Limited New edition 1968 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the permission of The Hamlyn Publishing Group Limited. ISBN 0-517-00404-6 Printed in Yugoslavia Scan begun 20 November 2001 Ended (at this point Goddess knows when) LaRousse Encyclopedia of Mythology Introduction by Robert Graves Perseus and Medusa With Athene's assistance, the hero has just slain the Gorgon Medusa with a bronze harpe, or curved sword given him by Hermes and now, seated on the back of Pegasus who has just sprung from her bleeding neck and holding her decapitated head in his right hand, he turns watch her two sisters who are persuing him in fury. Beneath him kneels the headless body of the Gorgon with her arms and golden wings outstretched. From her neck emerges Chrysor, father of the monster Geryon. Perseus later presented the Gorgon's head to Athene who placed it on Her shield. -
OAC 2013 Round #2
OAC 2013 Packet 2 CATEGORY ROUND American Literature: FLORID POETRY Team A: What British Romantic wrote "Ah, Sunflower" as well as a poem about syphilis, "The Sick Rose"? ANSWER: William Blake Team B: What American poet wrote "To the Fringed Gentian," "The Yellow Violet," and "To a Waterfowl"? ANSWER: William Cullen Bryant This poet included "September on Jessore Road" in his collection The Fall of America. One poem by this man asks, "When did you look at your skin and decide you were an impotent dirty old locomotive?" This poet asked Walt Whitman which way his beard points in another poem. This poet of "Sunflower Sutra" and "A Supermarket in California" repeatedly invoked Moloch in the second section of another poem in which he famously declared, "I saw the best minds of my generation destroyed by madness." Name this Beat poet of "Howl." ANSWER: Allen Ginsberg [or Irwin Allen Ginsberg] Mathematics: Solid Geometry (All questions in this round are 20 seconds) Team B: What is the surface area of a tetrahedron in which each edge is 4 inches long? Express your answer in simple radical form. ANSWER: 16 times the square root of 3 square inches [or 16 times radical 3 square inches] Team A: What is the volume of a cube with surface area 24 square centimeters? ANSWER: 8 cubic centimeters Tossup: This operation only exists in seven-space and in three-space. This operation will give the normal to a plane when applied to an independent basis spanning the plane. It can be evaluated by finding the determinant of a three-by-three matrix consisting of the two inputs. -
Complete Works of Brann the Iconoclast Vol 1,The
THE COMPLETE WORKS OF BRANN THE ICONOCLAST VOLUME I In putting into permanent form the complete works of William Cowper Brann, twenty-one years after his death, the sole purpose of the present publishers is to preserve in its entirety the genius of a writer whose work, though produced under the stress of journalism, is destined to endure as literature. Upon the issues discussed by Brann, the publishers take no sides; they do not stand as sponsors for, nor do they desire to appear in the light of either approving or disapproving his opinions or methods. They were friends and neighbors of many years' standing of the men and institutions mentioned in Brann's writings, but were in no way involved in the bitter controversies and deplorable events which led to Brann's untimely and dramatic death. The plan and arrangement of this twelve-volume set of Brann is simple. The first volume is composed of articles of various length gathered from miscellaneous sources, and includes some of the better known articles from The ICONOCLAST. Volume II to XI inclusive are the files of The ICONOCLAST (from February, 1895 to May, 1898, inclusive), with the matter arranged approximately as it appeared in the original publication. Volume XII contains the story of Brann's death and various biographical and critical articles from the press of the day, together with those of Brann's speeches and lectures which have been preserved. At the close of Volume XII you will find a complete index of subjects and of titled articles for the entire twelve volumes.