A Comparison of the Celtic God Sucellus Silvanus and the Norse God Thor
The Gaulish hammer-god, Sucellus Silvanus, is among the most important of the Celtic deities with respect to religious expression and influence as well as the iconography that depicts him (Green, 1992). In fact, Sucellus Silvanus is depicted on more than two hundred bronze and stone representations that indicate he was a complex god that had a broad ranging sphere of influence (Green, 1992). In addition, Sucellus Silvanus is a uniquely Celtic deity that does not reflect any degree of classical influence apart from the manner in which is depicted naturally in his iconography including most especially his long-handed hammer (Green, 1992). It is important to note, though, that the name Sucellus Silvanus was a combination of the the Italian Silvanus, and the Celtic Sucellus (Mercurio, 2011). In this regard, Mecurio (2011) reports that, “Both these names are conjoined in an inscription from Worms; in the South of France, the name Silvanus is used almost exclusively; elsewhere, both names coexist” (para. 3). Besides...
Bongars, Gesta Dei per Francos, 1, pp. 382 f., trans in Oliver J. Thatcher, and Edgar Holmes McNeal, eds., A Source Book for Medieval History, (New York: Scribners, 1905), 513-17
In this paper, it will tell and describe almost everything about Celtic warriors. This paper will show the different weapons and armor that the Celtics used in combat. Also, there will be information about the different fighting tactics that they use on the battlefield. And you cannot know these things without knowing the origin of the Celtic cross and how it came about. In conclusion, this is what this essay will be teaching.
Campbell examines thirteen Venetian engravings and paintings, as well as an example of early poetry, to illustrate the grafting effect of different imagery sources within a single picture, along with poetic imagery and form used with poesia. Many examples of art that Campbell examines focuses on the nature of the works, such as the juxtaposition of “pagan opposites” in Christian subject matter, the idea of the gaze, juxtaposing two pictorial ...
Pearson, A. G. (2005). Envisioning gender in Burgundian devotional art, 1350-1530: Experience, authority, resistance. Aldershot: Ashgate Pub.
"Achilles." Gods, Heroes and Myth: Mythologies of Many lands. 10 June 2003. Internet. 23 June 2003.
The poem Beowulf is a renowned story that displays many different surroundings and religious beliefs. Some may believe the story of Beowulf portrays pagan beliefs or customs and others believe that the poem is more in agreement with Christian ethnicity. The author of Beowulf uses both Christian and pagan elements in the poem to define the heroic warrior, Beowulf, and the evil dragons. After reading Beowulf the author clearly shows how Beowulf is a man who is filled with Christian customs and is willing to die and defend the world against evil using the help of God.
8. Edmondson, J. C., and MyiLibrary. “Augustus”. Edinburgh: Edinburgh University Press, 2009. eBook Academic Collection (EBSCOhost). Web. 4 May 2014.
Germanà, Monica Gothic Studies Vol. 13 Issue 2, p98-115, Manchester: Manchester University Press 2012. Academic Journal
There are many books, movies and poems that fall into the category of epic. Although majority of the epic films are based on a hero who keeps the entire city safe and helps as many people as they can. Now that is exactly the film The 13th Warrior. The film follows the key events of the Epic Beowulf. The 13th Warrior demonstrates pretty much the same aspect of epic, along with the speculations of a hero, and how he overpowered his enemy. Unfortunately the main characters in The 13 Warrior and Beowulf are different. However the circumstances that they are put in front of and the behavior of both heros remain related. While the two pieces have a lot in common they still have their differences.
Orr, David Gerald. ""Roman Domestic Religion: The Archaeology of Roman Popular Art"." .Bowling Green, Ohio: Bowling Green University Popular Press (1980): pp. 88–103. Western New England University Academic Journal. Pdf.
The Vikings have garnered attention over the years not only for their raiding and trading, but also for the Paganist gods and religion. Similar to many other ancient civilizations, the Vikings leave behind many myths containing tales of their gods and their beliefs. Marvel’s 2011 film Thor serves as an introduction to Norse gods and mythology, but it does fall flat in term of accuracy and detail in certain areas. Despite various large and small-scale changes to its overall plot and characters, Thor has been well-adapted to portray Norse myths as best as possible within an existing Marvel franchise.
The object of this book, Early Medieval Art, is to convey the theme “tradition not only receives and transforms, it literally invents a tradition upon which it founded itself” (p. 15) concerning art of the early medieval era. The purpose of this book is to summarize and offer knowledge of medieval art, that will then be included in the greater series of books by other specialists for Oxford University Press. Lawrence Nees accomplished his argument successfully by following the chronological production of the art and the traditions that are imbedded within them. Although, his thesis is strongly supported, Ness’ failure is found in his over reliance on the artwork itself, which then leads to the masking of his personal arguments.
The “Sacred Tree,” (fig. 1) was originally positioned behind the king’s throne. The scene shows two genii, sometimes with birds’ heads and sometimes with men’s heads and the horned hats of gods. Each of the winged figures holds a bucket and reaches out with an oval object toward a stylized “tree.” The composition has been read as being based on bilateral symmetry, with the vertical stalk-like structure crowned by a palmette. A meticulous examination reveals that although balanced, it has many discrepancies on both sides that deviate from perfect mirror symmetry. Ashurnasirpal appears twice, shown from two sides, dressed in ceremonial robes and holding a mace connoting his authority. The figure of the king on the right makes an invocative gesture a god in a winged disk in the top center of the relief. Ashur, the national god or Shamash, the god of the sun and justice, may be identified as the god who confers the king divine right. On the left, the king holds a ring, an ancient Mesopotamian symbol of divine kingship, in one...
I fully accept that I am a geek when it comes to the Marvel superhero comics. I could not help but note that after watching Captain America, my favorite from the Avenger’s series, I noticed Chris Evans capitalized on the classic iconic American Hero. Typically when we hear superhero we think of a man that begins with Bat, Spider or Super. Yet none of these men fully embody the American icon of comic heroism. While using a narrative paradigm and Bourke I will examine our icon in comparison to a Norwegian Viking through a postmodern lens. Comparing these two icons may seem as an odd comparison, however their similarity might shed light into who the American hero really is.
After looking at his purposes on what he was trying to do, it is the time to discuss Beowulf’s “supernatural hero” character and in what aspects he was considered the “superman” of the time. The first sign of his heroic character comes from his name, Beowulf. “Beo” gives the impression of a strong, large, fearless animal--bear--while at the same time “wulf” sounds like a ferocious and wild wolf. Beowulf’s physical appearance, in which he had a towering height and stature, also convinced others that he was actually an “above-human” character and hero. Furthermore, Beowulf had a mysterious and “un-heroic” background, which he foretold as a youth. He was poorly regarded by the ...