Loki the thor

Loki Thoughts of a God: A Queer Reading, 2018

This Master's dissertation is centrally about the Norse God Loki, and their Queer influence on the wider Norse society during the pre-Viking Age, the Viking Age proper, and through the edited literature compiled during the later Medieval periods. It promotes a Queer reading of the God, and a Queer reading of the society - leading to opportunities for further study, and recognition of, a more inclusive historical society.

Jurnal Pendidikan dan Kebudayaan

The film “Avengers: Infinity War” is a film that sequel to 2012's The Avengers, and 2015's Avengers: Age of Ultron. The purpose of this study is to describe the character of one of the main characters, namely Thor and also the representation of the superhero formula from Thor. The method used in this study is a qualitative method with two research approaches, namely structural to examine the character of Thor, while the literary psychology approach uses the theory of Coogan and Cawelti about the superhero formula (protagonist). The results show that Thor has 4 characters, namely 1) Thor is the main character, 2) Thor is the protagonist, 3) Thor is a flat character, because at the beginning of the scene it is shown that Thor is grieving because of the loss of his brother, so Thor tries to take revenge from the beginning to the end of the film. 4) Thor is also a static character in the film. In the analysis of the representation of the superhero formula (protagonist), three po...

Loki: A Queer Reading

Today, we have a 21st Century awareness of diversity in expression pertaining to a person’s gender, sexuality and place in the world. Yet we sometimes forget that these markers of human identity have always existed throughout our shared cultural past, and are articulated in various ways within ancient stories and mythologies. In this thesis, I will consider the way that gender identity and sexuality are evoked in Norse mythology, focusing on the figure of Loki. The sexuality and gender identity of Loki has not previously been surveyed. The starting point of this research comprises a close reading of Georges Dumézil’s system of understanding myth, followed by an analysis of Jerold C. Frakes’s attempt to explain the position of Loki in Norse mythology and religion. These scholars’ works are seminal to understanding the god Loki, and will guide my comparative study of the nature of Loki amongst the other gods and in other cultures. I will then draw on their theories to offer my own interpretation of Loki’s position in the pantheon. Following this, I will discuss the sexuality and gender-identity of Loki and how this reflects the social milieu of Viking-Age Norse society. My central thesis statement is therefore twofold: first, to fully grasp the role of Loki in Norse mythology we have to look at them through the lens of the Norse worldview; second, an awareness of Loki’s place in the pantheon gives us insights into Norse understandings of gender identity and sexuality.

Caietele Echinox, 2018

Often considered figures of modern mythology, various superheroes are widely known and referenced due to the fact that their stories are embedded in the real world and several forms of media are saturated with their presence. These heroes and gods of the twentieth and twenty-first centuries function as archetypes. In this paper I will focus on the Marvel superhero, Thor, and his representation in the latest movie within his franchise, Thor: Ragnarok (2017). In this newest film Thor becomes an interesting representation of the posthuman condition by mixing together Norse mythology and posthumanist ideology. In my paper I will examine the relation between these two seemingly antithetical ideas.

New Voices in Classical Reception Studies, 2020

In the story arc beginning in Thor 363 and running through Thor 366 something very unusual happens to the hero. In order to keep Thor from participatingin the Althing to elect a new king after the disappearance of Odin, Loki puts a spell on Thor and turns him into a frog. In this new frog form, Thor ventures into Central Park, where he meets other frogs and aids them in their war against the rats.Eventually, Thor returns to Asgard and confronts his brother before being returned to his normal form.By putting Thor into the context of a war between frogs and rats, Simonson creates an intertextual relationship between his own text and the Batrachomyomachia(among a variety of other texts as well). This paper looks at thisintertextuality on two levels: 1.As a means of satirical reduction. The reduction of Thor to the state of a frog parallels the reduction of the heroes of the Iliad to frogs in the Batrachomyomachia, this reduction plays on the idea that a comic book hero must act in a certain way, even as a frog. 2.As a way to drive the narrative of the comic forward.Following the disappearance of Odin and Thor’s scarring adventures in Hel, he narrative threatens to end, as Thor may take over as king of Asgard. His experiences as a frog allow him to reset and to decide to continue as the defender of earth.

An examination of the Norse Giant Ægir and his family and the youth of the god Thor using comparative mythology. Various speculations about the astral identity of Ægir and his family are also explored.

Odin the Man traces the life and times of Odin. The study suggests that Odin was a third century warrior captain who managed to convince his followers that he was a living god, and who caused the mass migrations of the Germanic tribes against the Roman frontiers in the late third century. The analysis of several sources support the position taken by Snorri that we are dealing with a historical figure. Despite being a great warrior, Odin's greatest achievement was to fool people up to modern times that he was a god. He was not called a trickster, conjuror and magician for nothing. The study of the career forms the Appendix 3 of the forthcoming Britain in the Age of Arthur (Dark Ages Britain), and one of the purposes has been to advertise this book by demonstrating what sorts of results one can obtain if one pays more attention to what the sources state rather than follows the consensus view as well as the book series Military History of Late Rome.

2015

The paper compares Loki of the Scandinavian and Syrdon of the Caucasian material (the Nart epic tradition) with the evolution of the character of Prometheus as described in the early texts (Theogony and Works and Days by Hesiod) and with his later transformation as described in Prometheus Bound by Aeschilus. This comparison makes it possible to demonstrate the general pattern of evolution which can be described as (chthonian) deity → trickster → culture hero. In this we do not agree with Eleazar Meletinskij’s statemwent, according to which the culture hero – Demiurge – is the most ancient character in the world folklore, while the trickster is a subsequent transformation of the image of the culture hero. Employing the Greek model (Hesiod’s Theogony) as our starting point, we will argue that an intriguer / a trickster is the most ancient mythological character, while the culture hero emerges as a result of later developments.