Jörmungandr: The World Serpent

The lines along the headdress and cloth lead you toward the head, or focal point of this sphinx. Lines are also used to separate the king's head from the lion body. Lines are used to draw you into one point and help suggest the mass or volume of this sphinx. Since this is a three-dimensional figure the lines are implied unlike the defined ones in a two-dimensional figure. As you follow the lines you encounter the oval shaped head and thin lined eyes which are curved to show aging and are shaped as a geometric almond.

Compared to other civilizations during this time, the Minoans were short lived and different minded. Based on various artifacts it is believed that the Minoan’s were a matriarchy and that the Snake Goddess most likely represented the importance of women in their society. It may also have served as a symbol of fertility and reproduction. This makes sense considering that the Minoans were an agriculturally based society and many of their art pieces reflect a love of nature and natural beauty. This naturalism is also reflected in the Snake Goddess as she has very fluid and natural lines, compared to say, the harsh, abstract

The next comparison between two stories is that of Norse mythology and Greek mythology. Both stories have very similar ideas and ways of telling their stories of how their world came into being. Norse has their giants, who gave birth to the original three gods that created Midgard. The Greeks have the Titans who bore the Greek gods who overthrew them as well to control the Earth. Both myths contain the presence of creatures in their stories, beasts who helped shape their respective worlds to move the culture’s creation stories further along. Creatures within these worlds would be the dwarves, the serpent Nidhogg, and demons of Norse myth and the Cyclopes, the furies, and Typhon of Greek origin Furthermore, the children of some of these creatures were divines, who ended up overthrowing their elders to lead the creation of their own worlds, to rule over their own creations as well. And speaking of the world, both myths have multiple layers to their

not so sure about it being a snake. This keeps the beast more of a

looked like the pope or a cardinal’s robe. The tour guide also made another resemblance which was a

It was once reported that there was up to 25,000 Vikings living in Iceland in the mid 900’s. The Norse did not have books, but they did have an alphabet, so they passed on history by stories and poems. Their alphabet was made up runes, are the letters in a set of related alphabets. There are still remains of the runes in some parts of Europe like Iceland and Normandy. It was customary for men to wear long

In the Victorian era, corsets became longer and became not only about supporting and lifting the breast, but creating a tiny hourglass waist. ‘Women were so tightly corseted that they could not bend over’ but to add to the strain ‘the corset was hung with an extraordinary amount of gear, a combined system of garters and suspenders.’

Zora Neale Hurston's short story, “Sweat,” portrays a conflict between the elements of good and evil. Delia, a battered wife, represents God or a God like figure. Sykes, or the evil Satan like figure, constantly inflicts physical, psychological, and verbal damage to this God like figure. He does this to attempt to overcome Delia, or defeat God. If his actions are successful, it could be perceived as Satan defeating God.

In “Genesis” and Gilgamesh there occurs to be a serpent that is very similar in both the poems because of the way they are and the things that they did. In both stories the serpents lead

Back before written history monster stories were passed from person to person by word of mouth. There are hundreds of thousands of stories where monsters are exhibited throughout history. These monsters are just made up to scare or entertain people, the best kinds of monsters in stories are those that have hidden symbolism. The Epic of Gilgamesh and Beowulf, are two stories where there is heavy symbolism associated with the monsters. Both characters form relationships with the supernatural throughout their journeys. The monsters Gilgamesh faces act as distraction on his spiritual journey, while Beowulf’s propel him towards his destiny.

Some beasts slithered, some walked on all limbs while others flew and swam. There was also a very odd pair of beasts that had no fur or scales and walked on 2 limbs that would gibber and

The Serpentine are former villains, but now they’re pretty neutral characters. The snake-like creatures are always ready to fight. They’re favorite pastime is the Slither Pit, where they fight one another. They also use the Slither Pit to fight for advancement in their tribe. All the generals have long tails instead of legs. The five warring tribes (Hypnobrai, Fangpyre, Venomari, Constrictai, and Anacondrai) were separated and locked underground long before the pilot episodes, because of what happened during the Serpentine War. Each tribe has its own unique power: the Hypnobrai hypnotize their victims, the Fangpyre can turn anything into a snake, the Venomari can make you see things when they spit their venom in your eyes, the Constrictai can crush you to death, and the Anacondrai can

The colour scheme has remained the same. However the design of costume has clearly evolved from the original one. Here, he wears a helmet with the letter “A” and wings printed on it instead of a mask. The stripes have also changed. There are stripes on two sides of his shoulders going vertically down up to his waist. White stars have also been added to his gloves.

It has been speculated that the woman that the portrait depicts was in fact a vestal virgin, however one particular feature seems to dispute this theory. Vestal virgins were typically shown with an infula, a frontlet or headband, around the hairline just above the forehead. While from the frontal angle the portrait appears to have a similar band, closer observation shows that the woman's hair has been braided and wrapped around the forehead in similar style, and that the veil she wears appears merely to be of the style generally shown in funerary monuments. All other representations of vestal virgins we have studied generally have a very apparent infula, so in this case it seems that while the features may appear similar, the fuller veil and knotted hairstyle of the portrait, lean more toward matron than vestal virgin (Johansen 246-7).

This figure’s body is cropped, leaving the viewer with only its torso and head. While portions of this figure’s body are more humanoid than the previous, (a pronounced shoulder and breast ground the character) once we move up from these shoulders the body seems to break into geometric abstraction. A spiky neck extends and transforms into a sort of scaffolding to hold up the mask-face. This figure is also decorated with flowers and hair like protrusions, suggesting an almost ritualistic garb.