The Orkney Islands In The Viking Age, 2014 Kennesaw State University
The Orkney Islands In The Viking Age, Moira Speirs Ms
Oglethorpe Journal of Undergraduate Research
No abstract provided.
Naming Practices In J.R.R. Tolkien's Invented Languages, 2014 The College at Brockport: State University of New York
Naming Practices In J.R.R. Tolkien's Invented Languages, Wendy Baker Et Al.
Journal of Literary Onomastics
Heroes To Horrors: Metamorphosis As Combat Trauma In The Mythology Of The West, 2014 University of Connecticut
Heroes To Horrors: Metamorphosis As Combat Trauma In The Mythology Of The West, Thomas Passarelli
Honors Scholar Theses
In an attempt to show how Western mythological depictions of metamorphosis in fighting men often serve as an early discussion on the psychosocial ramifications of warfare on veterans, this research holds early Norse, Celtic, and Anglo-Saxon texts in comparison with contemporary PTSD research and anecdotes from American veterans of the Vietnam War.
Why Are Scandinavians So Happy?, 2014 College of Saint Benedict and Saint John’s University
Why Are Scandinavians So Happy?, John Hasselberg
Perhaps somewhat surprising to many in central Minnesota, Scandinavian societies are ranked as having the happiest people in the world. Long-term longitudinal studies such as "Development, Freedom, and Rising Happiness: A Global Perspective (1981-2007)" by Inglehart, Foa, Peterson and Welzel of the University of Leicester, and recent research reported by the United Nations Sustainable Development Solutions Network in its "World Happiness Report 2013", edited by Helliwell, Layard & Sachs, consistently come to the conclusion that Scandinavians are the happiest people in the world. Why? How is this possible? What can we learn from them?
Bridget Of Sweden (1303-1373) As Author, 2013 James Madison University
Bridget Of Sweden (1303-1373) As Author, Mark E. Peterson
No abstract provided.
Babette's Feast And The Goodness Of God, 2012 University of Nebraska Omaha
Babette's Feast And The Goodness Of God, Thomas J. Curry
Journal of Religion & Film
This article attempts to answer the preeminent question Babette’s Feast invites viewers to consider: Why does Babette choose to expend everything she has to make her feast? Of the critical studies made of the film, few have considered analytically crucial the catastrophic backstory of Babette, the violence of which is implied and offscreen. Appreciation of the singularity of Babette’s own personhood and the darker aspects of her experience, and not only how she might act as a figure of Christ, are key to understanding the motivating force behind her meal and its transformative effect: That through the feast ...
Le Zarathoustra De Nietzsche Et Le Style Parodique. A Propos De L’Hyperanthropos De Lucien Et Du Surhomme De Nietzsche, Babette Babich
Articles and Chapters in Academic Book Collections
Nietzsche’s Übermensch is derived from Lucian of Samosata’s term hyperanthropos. I argue that Zarathustra’s teaching of the overman acquires new resonances in the context of that terminological origination in Lucian’s Kataplous — literally: sailing into port — referring to the journey of the soul into the afterlife, as escorted by Hermes and ferried by Charon along with myriads of others facing the same fate. The Kataplous he tyrannos, a title usually rendered as the Downward Journey (or The Tyrant), is a Menippean satire telling the tale of the “overman” supposed superior to others of “lesser” station in ...
Defying The Modernist Canon: Mikhail Larionov’S Artistic Experience Beyond The Canvas, 2011 University of Kentucky
Defying The Modernist Canon: Mikhail Larionov’S Artistic Experience Beyond The Canvas, Ella Hans
University of Kentucky Master's Theses
In the contemporary art-historical vision, Mikhail Larionov is renowned as the author and the main figure in the polemical discourse of Neoprimitivism and the inventor of the Rayonism style. These aspects, although crucial to his career, are far from exhausting the artist’s legacy. During his most industrious period, from 1910 to 1915, he was equally, if not more, engaged in the development of new forms of art than in the practice of painting; in fact, the conventional cornerstone of the high art in the era of Modernism – a painting – lost its central position and receded to the status of ...