DOCSLIB.ORG

Hollywood's Villainous Masculinities: a Study of Hades and Set From

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hollywood's Villainous Masculinities: a Study of Hades and Set From 2020-3874-AJMS-MDT 1 Hollywood’s Villainous Masculinities: A study of Hades 2 and Set from Clash of the Titans and Gods of Egypt 3 4 5 Gods, Goddesses, Heroes and other mythical figures from religious mythologies have 6 made continued appearances in Hollywood films since the 20th century, with many of 7 them reflecting the times and era of their production in the guise of depicting the 8 “ancient” world and dealing with “sacred” themes in a secular manner. While a 9 cinematic text invites us to identify with the hero, the antagonist is imbued with 10 qualities that require judgement from the hero. This paper seeks to undertake a 11 character study of the Greek God Hades from Clash of the Titans (2010) and the 12 Egyptian God Set from Gods of Egypt (2016) to understand the ways in which the 13 cinematic imagination constructs them as antagonists and condemns their ways. While 14 the hero and his masculinity is generally propagated as a form of “ideal” masculinity, 15 the villain forms a more complex characterization as he may embody qualities 16 possessed by the hero himself and yet be termed “unheroic”. Reading the texts as 17 embodiments of popular culture, and thus, as sites for interrogating contemporary 18 socio-political and cultural concerns, the paper would like to explore the construction 19 of villainous and “non-ideal” masculinities in the figures of Hades and Set. Utilizing a 20 textual reading of the films, the analysis would be supported by theories derived from 21 Masculinity Studies and Film Studies. 22 23 Keywords: Hollywood, Mythology, Masculinities, Heroism and Villainy 24 25 26 Introduction 27 28 Lynn Schofield Clark in her essay “Why study Popular Culture” argues 29 that popular culture sometimes expresses the zeitgeist of an era, “speaking to 30 deep-seated beliefs that are consistent with what we believe are the best 31 qualities of our collective society” (9), and at the same time also reflects the 32 unconscious and sometimes negative (be it racist, classist or sexist) views that 33 we have internalised and “prefer not to admit to ourselves” (9). Thus, sites of 34 popular culture such as film, television, novels etc. are in her words locations 35 in which these “contradictions and negotiations are constantly played out 36 through narrative and representation” (9). Big-budget popular Hollywood films 37 with their ability to advertise, distribute and attract mass audiences at a global 38 level have the potential to influence a large number of people. This paper 39 therefore, aims to study the depiction of heroism and villainy with reference to 40 the cinematic projection of images and conceptions of “ideal” and “non-ideal” 41 masculinities in two popular big-budget Hollywood mythology-based films, 42 namely Clash of the Titans (2010) and Gods of Egypt (2016). The paper 43 specially focuses on the depiction of the cinematic villain as the figure of the 44 villain is hypothesised as cinematically subverting and/or inducing the 45 audience to interrogate Hollywood’s representation of the hero, the currently 46 accepted ideals of heroism in popular culture, and highlighting hegemonic and 47 dominant forms of “heroic” ideal masculinity in post 9/11 cinema. 1 2020-3874-AJMS-MDT 1 After the devastating terrorist attacks on the World Trade Center in 2 September 2001 and the subsequent “War on Terror” led by the United States 3 of America’s President George Bush led administration, a plethora of movies 4 across multiple genres were being produced and released by Hollywood which 5 directly or indirectly engaged with the events, its aftermath and its continued 6 influence on the American and global psyche (McSweeney 2017, Boggs and 7 Pollard 2006), be it films directly dealing with the events and aftermath of the 8 11 September attacks (United 93 2006, World Trade Center 2006 etc.), the 9 wars in Afghanistan and Iraq (The Hurt Locker 2008, Zero Dark Thirty 2012 10 etc.) or allegorical films engaging with the geopolitical events and time of their 11 production and expressing the anxieties of the age (for instance science fiction 12 films like War of the Worlds 2005, Children of Men 2006 etc.). The rise and 13 popularity of the “superhero” film genre, war/counterterrorism centred films, 14 and metaphorical heroic films propagating an idea of American strength, 15 American defence against outside attacks with many having overt/covert 16 “nationalistic” and “American supremacist” themes (for instance the films 17 mentioned above) could be seen as mechanisms in response to the 9/11 attacks. 18 Klaus Dodds observes in his article “Hollywood and the Popular Geopolitics of 19 the War on Terror” (2008) that “Films help to sustain social and geopolitical 20 meanings” (1625) and are “capable of reflecting but also challenging certain 21 norms, structures and ideologies associated with US foreign and security 22 policies and the ongoing war on terror” (ibid.). Released in the second decade 23 of the twenty-first century, the mythological films chosen for study respond to 24 a need for heroic films in a post-9/11 and “War on Terror” world and are 25 argued to be a part of the same environment that birthed the other 26 “nationalistic” Hollywood films, as films are understood to have the ability to 27 function as both a “barometer” (McSweeney 8) and a “catalyst of national 28 discourse” (ibid. 9). Contextualising the texts within this time-frame and 29 concurrent geopolitical events, the paper asserts that the films must be 30 understood as having overt/covert ideological agenda and being a means to 31 propagate American geopolitical supremacy to both a domestic and 32 international audience. 33 While scholars like Cyrino (2005) have hailed twenty-first century as the 34 return of the “epic film” (generally understood as mythological or historical 35 fantasy films depicting an “ancient” world) with the release of Gladiator (dir. 36 Ridley Scott) in 2000, the propagation of heroic films, and the glorification of 37 symbolic “American” heroes necessitates a study of the temporal 38 circumstances of their production. While an all encompassing exploration of 39 multi-genre films is beyond the scope of this limited study, a concerted focus 40 on mythology-based films with their symbolic good versus evil narratives, 41 glorification of heroic figures and condemnation/vanquishing of villain figures 42 offers a parallel alternative to the ubiquitous and similarly constructed post 43 9/11 “superhero” and “war films”. Religio-mythological stories, characters, 44 settings and other fantastical elements have long been utilised by Hollywood as 45 base material for its cinematic narratives, thereby creating a grand spectacle for 46 entertainment and attracting audiences due to its familiar content. Biblical or 47 Christianity related themes and topics were utilised ever since the inception of 2 2020-3874-AJMS-MDT 1 the mode of cinema by the early practitioners mostly based in Europe while 2 Hollywood with its greater financial and production capabilities soon 3 overshadowed them in terms of the quantity and quality of films. Non- 4 Christian mythology was another rich source of stories for the American film 5 makers and 20th century saw the utilisation of primarily Graeco-Roman 6 mythology for making several mythology-based “epic” fantasy films. “Epic” 7 films, both in Hollywood and world cinema were variously set in an “ancient” 8 world derived from mythological, historical or text-based sources while not 9 claiming authenticity for cinematic purposes, and were many times ahistorical 10 and temporally unspecified. Jon Solomon uses the term “ancient” cinema in his 11 book The Ancient World in the Cinema (2001) to denote films depicting 12 mythological, Biblical, historical and/or texts/plays based “ancient” world 13 setting. Elliott in his “Introduction” to The Return of the Epic Film (2015) 14 notes that following the failure of several big-budget “epic” films like 15 Cleopatra (1963) The Fall of the Roman Empire (1964) and The Greatest Story 16 Ever Told (1965), films of this genre were discontinued being made in America 17 post the 1960’s, though TV series and low-budget made to-TV films etc. were 18 being produced, while in rest of the world the “ancient” “epic” film survived in 19 various forms like the Italian Peplum films (n.p. Kindle). Fuelled by the 20 success of “ancient’ world set Television shows, there was however a 21 “renascence” of these “ancient” films in America in the late 1970’s and early 22 1980’s for a brief period (Solomon 17-18). The 21st century however saw a 23 revival of this genre with various “historical” and religio-mythological “epics” 24 being produced and released in the first two decades of the 21st century. This 25 renewal in interest could be observed across popular culture with the release of 26 several mythology based novels and video games which substantiate the 27 terming of this wider cultural interest in mythology based texts as a “trend”. 28 The publication of several mythology based popular fiction books and book 29 series and their popularity across demographics increased the wider visibility 30 and renewed interest in the area. Popular fantasy fiction texts like Rick 31 Riordan’s Ancient Graeco-Roman mythology based Percy Jackson series and 32 its sequels (2005-2014) which spawned a less popular Percy Jackson movie 33 series (2010-2013), ancient Egyptian mythology based The Kane Chronicles 34 trilogy (2010-2012), ancient Norse mythology based Magnus Chase and the 35 Gods of Asgard trilogy (2015-2017); Neil Gaiman’s American Gods (2001) 36 which is being produced as a TV show (2017-); James Lovegrove’s Pantheon 37 series (2009-2019) which re-imagines figures from multiple mythologies into a 38 modern setting and led to the invention of the term “Godpunk” fiction (a sub- 39 genre of Speculative Fiction where ancient Gods/Goddesses and mythological 40 figures are re-invented in a modern contemporary setting); are just some of the 41 few popular ancient mythology based fantasy fiction texts which have renewed 42 and maintained our interest in ancient mythologies.
Load more

Recommended publications
  • Ancient Egyptian Religion I: General Concepts and the Heliopolitan Gods
    Ancient Egyptian Religion I: General Concepts and the Heliopolitan Gods Shawn C. Knight Spring 2009 (This document last revised March 18, 2009) 1 The nature of Egyptian religion (intro) The Egyptian idea of \deity" is a difficult one to pin down. The most frequently used word for deity, ' 4 ntr (or nTr), resembles the English word god in that it can be used as either a common noun, referring to one of numerous divine beings, or as a proper noun, referring to the Supreme Being. Much more problematic than the word used, however, are the details of what the gods do and even who they are. Gods become conflated with one another; most notably, there are (at least) two gods named Horus, designated \Elder" and \Younger", and they share a number of traits, often being confused (deliberately or mistakenly). The gods usurp one another's roles, or delegate their roles to others, with astounding frequency. It is Set's role to protect the sun god from the serpent of chaos|except when Horus has that function. The Supreme Being is Re-Atum, except when he is Amun-Re, except when he is simply Re or simply Atum or . Adding still further to the complication is the local character of Egyptian religion. Every nome had a patron god, and while some of the gods patronized more than one nome, there was plenty of variety. We have already considered this to some degree: we have noted Thebes, for example, as having Amun for a patron, and observed that the military rise of the Thebans in the Middle and New Kingdoms were responsible for the enrichment and empowerment of Amun's cult.
    [Show full text]
  • Ankh: Gods of Egypt Rulebook
    RULEBOOK TABLE OF CONTENTS OVERVIEW .................................................................................2 INTRODUCTION ..................................................................... 3 COMPONENTS .........................................................................4 BASIC CONCEPTS ................................................................... 7 Adjacency ...............................................................................8 Figures .....................................................................................8 Monuments ............................................................................8 Central Dashboard .............................................................9 God Dashboard .................................................................. 10 Devotion ..................................................................................11 Battle Cards ...........................................................................11 SETUP ..........................................................................................12 WINNING THE GAME ..........................................................13 GAMEPLAY ...............................................................................13 ACTIONS ....................................................................................14 OVERVIEW Move Figures ........................................................................15 Summon Figure ...................................................................16 Gain Followers .....................................................................17
    [Show full text]
  • MERGING+ANUBIS User Manual
    USER MANUAL V27.09.2021 2 Contents Thank you for purchasing MERGING+ANUBIS ........................................................................................... 6 Important Safety and Installation Instructions ........................................................................................... 7 Product Regulatory Compliance .................................................................................................................... 9 MERGING+ANUBIS Warranty Information................................................................................................ 11 INTRODUCTION .............................................................................................................................................. 12 Package Content ........................................................................................................................................ 12 OVERVIEW ................................................................................................................................................... 13 MERGING+ANUBIS VARIANTS AND KEY FEATURES ........................................................................ 13 ABOUT RAVENNA ...................................................................................................................................... 16 MISSION CONTROL - MODULAR BY SOFTWARE ............................................................................... 16 MERGING+ANUBIS panels description ....................................................................................................
    [Show full text]
  • Why No Wonder Woman?
    Why No Wonder Woman? A REPORT ON THE HISTORY OF WONDER WOMAN AND A CALL TO ACTION!! Created for Wonder Woman Fans Everywhere Introduction by Jacki Zehner with Report Written by Laura Moore April 15th, 2013 Wonder Woman - p. 2 April 15th, 2013 AN INTRODUCTION AND FRAMING “The destiny of the world is determined less by battles that are lost and won than by the stories it loves and believes in” – Harold Goddard. I believe in the story of Wonder Woman. I always have. Not the literal baby being made from clay story, but the metaphorical one. I believe in a story where a woman is the hero and not the victim. I believe in a story where a woman is strong and not weak. Where a woman can fall in love with a man, but she doesnʼt need a man. Where a woman can stand on her own two feet. And above all else, I believe in a story where a woman has superpowers that she uses to help others, and yes, I believe that a woman can help save the world. “Wonder Woman was created as a distinctly feminist role model whose mission was to bring the Amazon ideals of love, peace, and sexual equality to ʻa world torn by the hatred of men.ʼ”1 While the story of Wonder Woman began back in 1941, I did not discover her until much later, and my introduction didnʼt come at the hands of comic books. Instead, when I was a little girl I used to watch the television show starring Lynda Carter, and the animated television series, Super Friends.
    [Show full text]
  • Egyptian Religion a Handbook
    A HANDBOOK OF EGYPTIAN RELIGION A HANDBOOK OF EGYPTIAN RELIGION BY ADOLF ERMAN WITH 130 ILLUSTRATIONS Published in tile original German edition as r handbook, by the Ge:r*rm/?'~?~~ltunf of the Berlin Imperial Morcums TRANSLATED BY A. S. GRIFFITH LONDON ARCHIBALD CONSTABLE & CO. LTD. '907 Itic~mnoCLAY B 80~8,L~~II'ED BRIIO 6Tllll&I "ILL, E.C., AY" DUN,I*Y, RUFIOLP. ; ,, . ,ill . I., . 1 / / ., l I. - ' PREFACE TO THE ENGLISH EDITION THEvolume here translated appeared originally in 1904 as one of the excellent series of handbooks which, in addition to descriptive catalogues, are ~rovidedby the Berlin Museums for the guida,nce of visitors to their great collections. The haud- book of the Egyptian Religion seemed cspecially worthy of a wide circulation. It is a survey by the founder of the modern school of Egyptology in Germany, of perhaps tile most interest- ing of all the departments of this subject. The Egyptian religion appeals to some because of its endless variety of form, and the many phases of superstition and belief that it represents ; to others because of its early recognition of a high moral principle, its elaborate conceptions of a life aftcr death, and its connection with the development of Christianity; to others again no doubt because it explains pretty things dear to the collector of antiquities, and familiar objects in museums. Professor Erman is the first to present the Egyptian religion in historical perspective; and it is surely a merit in his worlc that out of his profound knowledge of the Egyptian texts, he permits them to tell their own tale almost in their own words, either by extracts or by summaries.
    [Show full text]
  • The Secret Name of Ra
    Thesecret name of Ra Ra, the SoleCreator was visible to the peopleof Eglat asthe discol the sun,but they knew him in manyother {orms. He could appearas a crownedman. a falconor'a man with a falcon'shead and, as the scarabbeetle pushes a round ball of dungin front of it, the Egyptians picturedRa asa scarabpushing the sun acrossthe sky. In caverns deepbelow the earthwere hidden another seventy-five forms ofRa; mysteriousbeings with mummiEedbodies and heads consisting of birds or snakes,feathers or flowers,The namesof Rawere as numerousas his forms; he wasthe ShiningOne, The Hidden One, The Renewerof the Earth,The lfind in the Souls,The ExaltedOne, but therewas one name ofthe SunGod which hadnot beenspoken sincetime began.To know this secretname ofRa wasto havepower overhim andover the world that he hadcreated. Isislonged for suchapower. Shehad dreamed that oneday she *.ould havea marvellousfalcon-headed son called Horus andshe wantedthe throne of Ra to giveto her child. Isis wasthe Mistressof Magic,wiser than millionsofmen, but sheLrrew that nothingin creationwas powerful enoughto harmits creator.Her only chance vr'as!o turn thepower of Ra againsthimself and atlast Isisthought of a crlel andcunning plan. Everyday the SunGod walkedthrough his kingdom, attendedby a crowd ofspirits andlesser deities, but Rawas growingold. His eyeswere dim, his stepno longerfirm andhe had evenbegun to drivel. One morning Isismingled with a group of minor goddessesand followedbehind the King of the Gods.She watched the faceofRa until shesaw his salivadrip onto a clod o{ eanh.\0hen shewas sure that no-onewas taking any noticeo{ her, shescooped up the earth andcarried it awav.Isis mixed the earthwith the salivaofRa to form clay andmodelled a wickedJookingserpent.
    [Show full text]
  • House of Eternity: Tomb of Nefertari
    - - - OUSE OF ETERNITY The Tomb of Nefertari John K. McDonald The Getty Conservation Institute and the J. Paul Getty Museum Los Angeles Cover/title page: Detail a/Queen Nefertari 0/'1 the north wall of Chamber G. All photographs are by Guillermo Aldana unless credited otherwise. The Getty Conservation Institute works internationally to further the appreciation and preservation of the world's cultural heritage for the enrichment and use of present and future generations. This is the first volume in the Conservation and Cultural Heritage series, which aims to provide in a popular format information about selected culturally significant sites throughout the world. © 1996 The J. Paul Getty Trust All rights reserved Printed in Singapore Library of Congress Cataloging-in-Publication Data McDonald. John K. House of eternity: the tomb of Nefertari I John K. McDonald. p. cm. ISBN 0-89236-415-7 1. Nefertari. Queen. consort of Rameses II. King of Egypt-Tomb. 2. Mural painting and decoration. Egyptian. 3. Tombs-Egypt. 4. Valley of the Queens (Egypt) I. Title. DT73· v34M35 1996 932-dc20 96-24123 C1P Contents Foreword 5 Introduction Dynasties of Ancient Egypt II Nefertari: Radiant Queen A Letter from Nefertari The Queen's Titles and Epithets 19 The Valley of the Queens Ernesto Schiaparelli 25 Conveyance to Eternal Life: The Royal Tombs of Egypt Tomb Paints and Materials 33 The Tomb Builders' Village 37 After Nefertari's Burial 41 Resurrection and Recurrent Risks 47 The King of the Dead and His Divine Family Divine Guidance 55 Among the Immortals: A Walk through the "House of Eternity" The Texts in the Tomb III Conclusion 116 Acknowledgments II HOUSE OF ETER ITY an honored and < > beloved queen, still in the prime of earthly existence, set off upon a voyage to the netherworld, in quest of eternal life.
    [Show full text]
  • Egyptian Temples
    Originalveröffentlichung in: Christina Riggs (Hrsg.), The Oxford Handbook of Roman Egypt, Oxford 2012, S. 362-382 CHAPTER 22 EGYPTIAN TEMPLES MARTINA MINAS-NERPEL From the beginning of their rule in Egypt, the Ptolemies initiated a gigantic temple con­ struction and decoration programme, which the Roman emperors continued well into the second century ce. Temples were still decorated on a much smaller scale into the third and the beginning of the fourth centuries. The last known cartouche of a Roman emperor in a temple was inscribed under Maximinus Daia (305-13 ce) on blocks belonging to the temple of Horus at Tahta (Holbl 2000: 45 n. 177; 114, fig. 157). Otherwise, the latest evidence comes from Esna (Sauneron 1975:65-6, no. 495; 84-7, no. 503), where the temple of Khnum was still being decorated under Decius (249-51 ce). Stelae inscribed in hieroglyphs continued to be set up in Egyptian temples, for example in the Bucheum at Armant, of which the latest is dated to 340, the fifty-seventh year of the era of Diocletian (Holbl 2000:45 n. 178; Goldbrun- ner 2004:78-9,302). The temple of Isis at Philae, where hieroglyphs were carved in the tem­ ple of Harendotes as late as 394 (Winter 1982:1023), was the last to be kept open, being closed down under Justinian between 535 and 537 (Winter 1982:1026), when it was converted to a church (Dijkstra 2008). The Hellenistic and Roman periods of Egypt are often subsumed under the term ‘Graeco- Roman Egypt’. In his examination of Egyptian society under Ptolemaic and Roman rule, Naphtali Lewis (1970) correctly pointed out that this phrase should not be used to imply con­ tinuity between the two eras, since the changes in the governmental structure, social pat­ terns and politics, administration, and the economy were so fundamental in Roman times as to render the term misleading.
    [Show full text]
  • This Pdf of Your Paper in Current Research in Egyptology 2014 Belongs to the Publishers Oxbow Books and It Is Their Copyright
    This pdf of your paper in Current Research in Egyptology 2014 belongs to the publishers Oxbow Books and it is their copyright. As author you are licenced to make up to 50 offprints from it, but beyond that you may not publish it on the World Wide Web until three years from publication (April 2018), unless the site is a limited access intranet (password protected). If you have queries about this please contact the editorial department at Oxbow Books (editorial@ oxbowbooks.com). An offprint from CURRENT RESEARCH IN EGYPTOLOGY 2014 Proceedings of the Fifteenth Annual Symposium University College London and King’s College London April 9–12, 2014 edited by Massimiliano S. Pinarello, Justin Yoo, Jason Lundock and Carl Walsh Paperback Edition: ISBN 978-1-78570-046-0 Digital Edition: ISBN 978-1-78570-047-7 © Oxbow Books 2015 Oxford & Philadelphia www.oxbowbooks.com Published in the United Kingdom in 2015 by OXBOW BOOKS 10 Hythe Bridge Street, Oxford OX1 2EW and in the United States by OXBOW BOOKS 908 Darby Road, Havertown, PA 19083 © Oxbow Books and the individual contributors 2015 Paperback Edition: ISBN 978-1-78570-046-0 Digital Edition: ISBN 978-1-78570-047-7 A CIP record for this book is available from the British Library All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying, recording or by any information storage and retrieval system, without permission from the publisher in writing. For a complete list of Oxbow titles, please contact: UNITED KINGDOM UNITED STATES OF AMERICA Oxbow Books Oxbow Books Telephone (01865) 241249, Fax (01865) 794449 Telephone (800) 791-9354, Fax (610) 853-9146 Email: [email protected] Email: [email protected] www.oxbowbooks.com www.casemateacademic.com/oxbow Oxbow Books is part of the Casemate Group Front cover: Original Artwork by Isabel Zemani, © Isabel Zemani.
    [Show full text]
  • AUGUST, 1940 TEN CENTS OFFICIAL STATE Vol
    SMALL MOUTH BASS AUGUST, 1940 TEN CENTS OFFICIAL STATE Vol. 9—No. 8 PUBLICATION VNGLEIC AUGUST, 1940 COMMONWEALTH OF PENNSYLVANIA PUBLISHED MONTHLY by the BOARD OF FISH COMMISSIONERS PENNSYLVANIA BOARD OF FISH COMMISSIONERS Publication Office: 540 Hamilton Street, Allentown. Penna. Executive and Editorial Offices: Commonwealth of Pennsylvania, Pennsylvania Board of Fish Commis­ CHARLES A. FRENCH sioners, Harrisburg, Pa. Commissioner of Fisheries Ten cents a copy—50 cents a year MEMBERS OF BOARD • CHARLES A. FRENCH, Chairman Elwood City ALEX P. SWEIGART, Editor South Office Bldg., Harrisburg, Pa. MILTON L. PEEK Radnor HARRY E. WEBER NOTE Philipsburg Subscriptions to the PENNSYLVANIA ANGLER should be addressed to the Editor. Submit fee either by check or money order payable to the Common­ EDGAR W. NICHOLSON wealth of Pennsylvania. Stamps not acceptable. Philadelphia Individuals sending cash do so at their own risk. FRED McKEAN New Kensington PENNSYLVANIA ANGLER welcomes contribu­ tions and photos of catches from its readers. Proper H. R. STACKHOUSE credit will be given to contributors. Secretary to Board All contributions returned if accompanied by first class postage. Entered as second class matter at the Post Office C. R. BULLER of Allentown, Pa., under Act of March 3, 1879. Chief Fish Culturist, Bellefonte -tJKi IMPORTANT—The Editor should be notified immediately of change in subscriber's address Please give old and new addresses Permission to reprint will be granted provided proper credit notice is given S Vol. 9. No. 8 ANGLERA"VI^ W i»Cr 1%7. AUGUST 1940 EDITORIAL CONTROLLED BASS CULTURE NTENSE investigation and study of bass culture has been taking place in Pennsylvania in the past few years.
    [Show full text]
  • A Portrait of Ancient Egyptian Common Life: the Cycle of Order and Chaos in the Tale of Sinuhe
    Studia Antiqua Volume 8 Number 1 Article 6 April 2010 A Portrait of Ancient Egyptian Common Life: The Cycle of Order and Chaos in The Tale of Sinuhe Courtney Dotson Follow this and additional works at: https://scholarsarchive.byu.edu/studiaantiqua Part of the Classics Commons, and the History Commons BYU ScholarsArchive Citation Dotson, Courtney. "A Portrait of Ancient Egyptian Common Life: The Cycle of Order and Chaos in The Tale of Sinuhe." Studia Antiqua 8, no. 1 (2010). https://scholarsarchive.byu.edu/studiaantiqua/vol8/iss1/6 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Studia Antiqua by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. A Portrait OF ANCIENT EGYPTIAN COMMON LIfe: The Cycle of Order and Chaos in THE TALE OF SINUHE Courtney Dotson entered in Egypt’s literary history is the theme of order and chaos, usually shown on a grand scale in connection with the gods, the king or the physicalC land of Egypt. These themes of stability and mayhem are portrayed throughout the Middle Kingdom classic poem The Tale of Sinuhe. Yet the purpose of the tale is not to give mythological or a philosophical account of these themes. Instead it gives the story of a man, Sinuhe, who experiences the cycle of order and turmoil in his life. The author uses mainstream Egyptian ideology and imagery to thematically expound upon these cycles and how they were experienced by the common ancient Egyptian.
    [Show full text]
  • Wonder Woman 77 Vol. 2 1St Edition Pdf Free Download
    WONDER WOMAN 77 VOL. 2 1ST EDITION PDF, EPUB, EBOOK none | 9781401267889 | | | | | Wonder Woman 77 Vol. 2 1st edition PDF Book No Preference. Short Stories. She says, "A woman doesn't destroy life, she cherishes it! Wonder Woman '77 2. Mouse rated it liked it Jul 07, It's a nice collection, and seeing how the various artists handle Wonder Woman, who goes out of their way to make her look like Lynda Carter and who splits the difference between her TV and comic look. Wonder Woman 5th Series. In Wonder Woman , Hippolyta flashes back to the truth, a revised version of Wonder Woman's origin story: Hippolyta had formed two babies from clay, one dark and one light. Sam rated it really liked it Aug 28, However, in the midst of her grief, her Lasso of Truth stopped working! Star Wars: Shattered Empire. By Athena's instruction, Hippolyta forswears any thoughts of revenge and rededicates herself to the Goddesses, regaining the strength to break her chains. In Super Friends 25 October , Wonder Woman, who is temporarily under the control of the evil Overlord, is seen attempting to liberate the oppressed women of the African continent. An ancient force of dark magic is stirring and the… More. She carries an unspecified magic sword. This will likely increase the time it takes for your changes to go live. This version of Nubia later reappears as a member of her Earth's Justice League, with her Earth officially revealed as Earth in the new Multiverse. Also, the description of the contents of Vol.
    [Show full text]