Abstract This research will examine archaeological evidence associated with the story of Noah's Ark told in Genesis. The Genesis story of Noah's Ark, which describes a great flood that destroys all life and civilization except for an extended family and the extended family of livestock in its care, is premised on the idea that the family patriarch, Noah, received instructions from God to build a gigantic boat, or ark
From the Paper "Overview
This research will examine archaeological evidence associated with the story of Noah's Ark told in Genesis. The Genesis story of Noah's Ark, which describes a great flood that destroys all life and civilization except for an extended family and the extended family of livestock in its care, is premised on the idea that the family patriarch, Noah, received instructions from God to build a gigantic boat, or ark. The ark serves as home and haven, allowing Noah, family, and animals to ride out the 40-day rain and the long-term flood that follows. When the waters recede sufficiently, Noah and family return the animals to the world and then reestablish a human presence in the world. No tangible record of Noah and the flood exists except in Biblical text. However, Noah and the flood narrative have been identified..."
Abstract This research examines archaeological evidence associated with the story of Noah's Ark told in Genesis. It explains how the Genesis story of Noah's Ark, which describes a great flood that destroys all life and civilization except for an extended family and the extended family of livestock in its care, is premised on the idea that the family patriarch, Noah, received instructions from God to build a gigantic boat, or ark. The paper looks at alternative version of the story and archaeological evidence of its occurrence through history.
From the Paper "Articulation of alternative visions of Noah in the modern period has occurred in a climate of contentiousness. That is because the absence of definitive archaeological confirmation of the ancient texts runs up against a widespread insistence in Judaeo-Christian culture on the historicity of the Noah story. The extent of contentiousness was manifest especially in 1997, when a credentialed Australian geologist, Ian Plimer, was ejected from a creationist lecture when ark explorer Allen Roberts refused to answer questions about geologic time. Plimer later sued Roberts for science fraud on the theory of "the dangers inherent in letting fundamentalists go unchallenged" (Scott 9). Plimer lost on the legal issue, which resulted in his bankruptcy, but won on substantive argument and PR grounds, reflected in a host of contributions to Plimer's legal fund."
Abstract This paper looks at important elements of the Bible, specifically the story of the flood and Noah's Ark as well as other related aspects of Genesis in the context of archeology. The paper examines problems with the creationist explanation of the Noah's ark story and why it doesn't fit with modern scientific and archaeological research, as well as discussing some reasons why people prefer the Creationist approach.
From the Paper "Everyone in the western world knows what they're looking at when they see a representation of an old man, a boat and a pair of animals, whether they be giraffes, rabbits or elephants. One doesn't need to be an active believer in any of the Biblical faiths to identify Noah and his Ark. In fact, the old man with a boat and some animals would probably have been an identifiable figure in the ancient world as well, from the Mediterranean to Indonesia, but especially in the middle east, where creation stories have included a divine salvation from a flood since the second millennium B.C. (Thompson 15; Bright 33)."
Abstract This paper looks at how Jan Brueghel the Elder's 1613 painting "The Entry of the Animals into Noah's Ark" has a playful attitude toward the fable of Noah's ark and how, by simply looking at this painting, it is easy to imagine this artist as secure in his Christianity and in his talent. It discusses how the painting is not critical of nature at all and how all its lush greenery and gorgeous animals demonstrate Brueghel's love of God's creations.
From the Paper "There is also the matter of the camels, which seems to be draped with Arabic carpets. One of them has its head turned toward the viewer, as if ask a question. In my opinion, the question is generated by the carpets, indicating that a culture (Arabic) has already been formed and is doomed to be wiped out by the flood. The humorous quality of the camel's gaze suggests that this is historically improbably, because there is no reason to believe that an identical culture would spring up after Noah's family repopulates the Earth."
This paper discusses the use of symbolism to portray the stereotype of the American male hero in Steven Spielberg's "Indiana Jones" trilogy, especially "Raiders of the Lost Ark" (1981).
Abstract This paper explains that not only are there actual symbols present in Steven Spielberg's "Indiana Jones" trilogy, especially "Raiders of the Lost Ark", such as Indiana's most feared enemy, the snake, but also the movies themselves serve as a symbol of American pop through the Hollywood's glorification and stylization. The author points out the symbolism in the main character Indiana Jones, played by Harrison Ford, who is a young, powerful educated man, coming from a civilized background with a catchy nickname "Indy", which all heroes must, and dressed in his classic American archaeologist attire of leather jacket and bullwhip. The paper concludes that the Indiana Jones trilogy continues to be an incredible success because it is so easy for the American population to relate to Indy, a hero who never failed, and because it reflects American pop culture of adventure, power and heroism.
From the Paper "It is very possible for even one trailer that is a mere one minute and fifty seconds long, to encompass so many different symbols, that have significance all throughout the movie. The clip that portrays the most symbolism in the shortest amount of time is definitely the part of the movie when Indiana Jones finds himself fighting a town full of Arabs in the middle of a marketplace in Cairo, all in order to rescue Marion. First and foremost, this entire sequence is filmed to fully capture the role of having a damsel in distress, as Indy is fighting in attempt to save Marion. Secondly, a very apparent form of symbolism appears in the background of the shot, where the entire marketplace is full of Arabs who are all wearing turbans and sandals, a very stereotypical image of the people of the eastern culture living in that region. The most noticeable glorification of the American culture becomes very evident when Indy is facing a large Arab man with a sword, who is prepared to fight him."
Abstract This paper reviews the film "Raiders of the Lost Ark" (the first action adventure of a series of Indiana Jones movies), directed by Steven Spielberg and George Lucas. The paper introduces and discusses in detail, the basic plot of the film. It also briefly discusses characterization and camera use in some of the scenes of the film.
From the Paper "The final scene involving the Nazis and the rescue of the ark, is the site where the Nazis, who have retrieved the ark, plan to open it to discover its secrets, is one that employs the most intense special effects of the film. There is panning to set up the sense of how Indy is greatly out numbered by the Nazis and a lot of medium shots of Indiana as he poses with a rocket launcher threatening to destroy the ark. Of course, as an archeologist, he can't himself to do that, and surrenders to the Nazis. Taken prisoner with Marion, once again, there is a montage of action as the special effects through light and laser demonstrations take over to the thundering warning of the music warning the viewer of doom. In the end, the Nazis are destroyed with close ups of their faces melting through the layers of skin, ligament to bone demonstrating, first, their horrific terror of what they are seeing just before they disintegrate."
Abstract This paper looks at the extinction of the dinosaurs and assesses the validity of the arguments put forward by creationists in favor of a biblical explanation for their demise. In particular, the paper discusses whether or not it is plausible to believe that the extinction of the great beasts was occasioned by the flood of the story of Noah's Ark. The paper looks at the biblical time-frame and explores whether or not dinosaurs and humans could possibly have existed contemporaneously. Finally, the paper looks at the plausibility of a great Ark existing and at whether the biblical flood could have ever taken place. The paper concludes that there is just enough evidence available for it to be unwise to dismiss the biblical explanation for the demise of the dinosaurs.
From the Paper "For one thing, critics of the Ark thesis state that supporters of its existence - such as John Woodmorappe - fail to consider how some creatures ostensibly not on the life-saving vessel (terrestrial snails, to cite one example) could have survived the relentless deluge. Further, critics charge that animals and other living beings which managed to survive the Flood could not possibly have been cared for adequately in any Ark - no matter how big. For instance, those who favor an evolutionary explanation for the earth's past (which necessarily means dismissing biblical accounts of why some creatures persisted into the modern age while others died out) point to the apparent logical improbability of being able to house, feed and sustain thousands of different species in a cramped, confined area; as far the critics are concerned, the example of modern industrial farming simply does not suffice as an explanation for how such an enormous task could have been undertaken (Morton, para.4-5)."
Compares Steven Spielberg's version of the life story of Oskar Schindler with the version presented in the book, "Schindler's Ark", by Thomas Keneally.
Abstract This paper compares and contrasts Thomas Keneally's book, "Schindler's Ark", with Steven Spielberg's film, "Schindler's List", which Spielberg based on Keneally's book. The paper looks at the differences in how Schindler is portrayed in the novel and how he is portrayed in the film, and the details about Schindler that are included in Keneally's book, but omitted in Spielberg's film. The paper also comments on Spielberg's ability to effectively depict the horrific treatment of the Jews by the Nazis.
From the Paper "Perhaps no other movie in recent history has had such an effect on the American public and the citizens of the world than Steven Spielberg's ?Schindler's List.? Based on Thomas Keneally's book, ?Schindler's Ark,? the movie was hailed by most critics as a masterpiece of cinematography. It was also praised as being an important and crucial link to the untold stories of the survivors of Nazi concentration camps during World War II. Through the years the movie has been studied in classrooms across the world and has become the centerpiece for museums dedicated to the camps? victims and survivors. However, one could argue that, among other differences, Spielberg's movie over-dramatized Oskar Schindler, compared to the Keneally's portrayal of the man."
Examines the career of this director, from his first film in 1960 to "Saving Private Ryan". Examines success, style, content, themes and special effects.
2,700 words (approx. 10.8 pages), 6 sources, 1999, $ 95.95
Abstract "Steven Spielberg is arguably the most financially-successful film director in history, having directed several of the highest-grossing films in history. These films include Jaws, Close Encounters of the Third Kind, E.T.: The Extra-Terrestrial, Raiders of the Lost Ark (and its sequels), and now Jurassic Park, quickly on its way to becoming the number one box office grosser of all time.
From the Paper "Steven Spielberg is arguably the most financially-successful film director in history, having directed several of the highest-grossing films in history. These films include Jaws, Close Encounters of the Third Kind, E.T.: The Extra-Terrestrial, Raiders of the Lost Ark (and its sequels), and now Jurassic Park, quickly on its way to becoming the number one box office grosser of all time. His success as a moneymaker has not always been greeted with critical acclaim, and there may indeed be some tendency on the part of critics to overcompensate for Spielberg's success with barbs at some of his films. His supporters think this is the case, and they also feel that the Hollywood community has joined in that effort. They point to the fact that The Color Purple, directed by Spielberg in 1985, won eleven Oscar..."
From the Paper " Four hundred thousand to two hundred thousand years ago, Homo erectus disappeared from the face of the earth and in his place was left archaic Homo sapiens, also known as Homo sapien neandertalensis or Neandertal man. Neandertal man had spread throughout Europe, the Near East, and Asia before one hundred thousand years ago. Then, quite suddenly, anatomically modern humans appeared throughout the Old World, replacing Neandertal man completely by about thirty-five thousand years ago (Fagan, 1989).
The question that arises is whether Neandertal man evolved to become modern man, or if modern humans migrated into the areas that were inhabited by the Neandertals and eventually replaced (...)"
Abstract An analysis of the book "Not Wanted on the Voyage" by Canadian authorTimothy Hindley, and how this relates to the author's native country. By analyzing the many themes of Biblical nature within the book, we can see why Finley is Canadian in mindset by his liberal Christian analysis of the Noah's Ark story.
Abstract This paper explains that, by using symbolism and a deft amount of humor, Martel weaves a grand yarn that serves as a modern, more magical version of Noah's ark. The author points out that, through the interwoven themes of freedom and survival, floats the awe-inspiring heroism of Pi, who, through his ordeal, discovers a deep sense of truth. The paper relates that "Life of Pi" is a symbolic text that explores the meaning of life through the triple meaning of Piscine's name: pool, pi, and pissing, the territorial marker, which would save the boy's life.
From the Paper "Piscine, French for ?pool,? was so named in honor of his father's closest friend, a champion swimmer. The French connection subtly links Pi to Pondicherry, a former French colony in India, and with the French chef. Pool, however, has a more direct relationship with the plot of the novel. Pi himself did not become a champion swimmer, but once the Tsimtsum capsizes, Pi's pool becomes the entire Pacific Ocean. Within its waters, Pi finds sustenance and fear, ironic suffocation within its endless depths. Although a sworn vegetarian, Pi has to fish for food to survive: his giant pool provides him and his tiger companion with everything from turtles to flying fish to feed on. However, the pool's water is unfit to drink, its salt destructive to his entire body."
Abstract This paper examines how, since its discovery in the mid-19th century, "The Epic of Gilgamesh" has been of interest to Christians because of its account of a universal flood, which has significant parallels to the flood of Noah's day.
From the Paper "The meanings of the names of the heroes have absolutely no common connection. Noah means "rest," while Utnapishtim means "finder of life" (O'Brien, 1986). Neither Noah nor Utnapishtim were perfect, but both were righteous. Utnapishtim also took a pilot for the boat, and some craftsmen, not just his family. Both accounts trace the landing spot to the same general region of the Middle East; however, Mt. Ararat and Mt. Nisir are about 300 miles apart. The blessing that each hero received after the flood was also quite different."
Examines how the flood stories in the "Epic of Gilgamesh" and "Genesis" have many points of agreement, suggesting that they are somehow connected. Yet, there are also many differences.
Abstract This term paper compares the flood story in the book of "Genesis" in the Old Testament of the Bible and the flood story in "Gilgamesh". It identifies links between the ancient Sumerian epic and the account of Noah in "Genesis," as well as similarities between the two. Similarities include the use of an ark and sacrifices made after the floods to the respective gods.
From the Paper "The flood story recurs in many ancient civilizations, though the nature of the story may be very different in some cultures. There appear to be links between the flood story as told in the ancient Sumerian epic of Gilgamesh and the flood story of Noah as told in Genesis in the Old Testament of The Bible. Some believe the older Sumerian tale may have served as the basis for the biblical account. There is recent evidence that there may have been a great flood in the area of the Black Sea, which may have become a continuing tribal memory that was eventually embodied in The Epic of Gilgamesh and reshaped to fit the theology of the Israelites for the tale told in Genesis. The two versions of the flood story have many points of agreement, suggesting that they are somehow connected. In the flood in Genesis, the role of God differs from the role of the gods in Gilgamesh."
