ellauri055.html on line 38: In Greek mythology, Comus (Ancient Greek: Κῶμος) is the god of festivity, revels and nocturnal dalliances. He is a son and a cup-bearer of the god Dionysus. Comus represents anarchy and chaos. His mythology occurs in the later times of antiquity. During his festivals in Ancient Greece, men and women exchanged clothes. He was depicted as a young man on the point of unconsciousness from drink. He had a wreath of flowers on his head and carried a torch that was in the process of being dropped. Unlike the purely carnal Pan or purely intoxicated Dionysos, Comus was a god of excess.
ellauri060.html on line 1178: 1985, (as Nolite te Bastardes Carborundorum) the novel The Handmaid´s Tale. The phrase is depicted as graffiti representing a "silent revolt" by a "slave woman in a futuristic totalitarian regime". Vanity Fair called the phrase a "feminist rallying cry".
ellauri061.html on line 195: The next critic known to comment on the play was John Dryden, writing in 1677. He was preoccupied with the question of whether fairies should be depicted in theatrical plays, since they did not exist. He concluded that poets should be allowed to depict things which do not exist but derive from popular belief. And fairies are of this sort, as are pigmies and the extraordinary effects of magic. Based on this reasoning, Dryden defended the merits of three fantasy plays: A Midsummer Night's Dream, The Tempest, and Ben Jonson's Masque of Witches. Varmaan se olis pitänyt Kiekkomaailmastakin ja Valtaistuinpelistä. Ja Harry Potterista.
ellauri067.html on line 422: Richard Freiherr von Krafft-Ebing (1840–1902; full name Richard Fridolin Joseph Freiherr Krafft von Festenberg auf Frohnberg, genannt von Ebing) was an Austro–German psychiatrist and author of the foundational work Psychopathia Sexualis (1886). He died in Graz in 1902. He was recognized as an authority on deviant sexual behavior and its medicolegal aspects. Krafft-Ebing´s principal work is Psychopathia Sexualis: eine Klinisch-Forensische Studie (Sexual Psychopathy: A Clinical-Forensic Study), which was first published in 1886 and expanded in subsequent editions. The last edition from the hand of the author (the twelfth) contained a total of 238 case histories of human sexual behaviour. Translations of various editions of this book introduced to English such terms as "sadist" (derived from the brutal sexual practices depicted in the novels of the Marquis de Sade), "masochist", (derived from the name of Leopold von Sacher-Masoch), "homosexuality", "bisexuality", "necrophilia", and "anilingus".
ellauri069.html on line 170: Dr. Mabuse is a fictional character created by Norbert Jacques in the German novel Dr. Mabuse, der Spieler ("Dr. Mabuse, the Gambler"), and made famous by three films about the character directed by Fritz Lang: Dr. Mabuse the Gambler (silent, 1922) The Testament of Dr. Mabuse (1933) and the much later The Thousand Eyes of Dr. Mabuse (1960). Dr. Mabuse is a master of disguise and telepathic hypnosis known to employ body transference, most often through demonic possession, but sometimes utilizing object technologies such as television or phonograph machines, to build a "society of crime". One "Dr. Mabuse" may be defeated and sent to an asylum, jail or the grave, only for a new "Dr. Mabuse" to later appear, as depicted in The Testament of Dr. Mabuse. The replacement invariably has the same methods, the same powers of hypnosis and the same criminal genius. There are even suggestions in some installments of the series that the "real" Mabuse is some sort of spirit that possesses a series of hosts.
ellauri107.html on line 104: An American Dream is a 1965 novel by American author Norman Mailer. It was published by Dial Press. Mailer wrote it in serialized form for Esquire, consciously attempting to resurrect the methodology used by Charles Dickens and other earlier novelists, with Mailer writing each chapter against monthly deadlines. The book is written in a poetic style heavy with metaphor that creates unique and hypnotising narrative and dialogue. The novel's action takes place over 32 hours in the life of its protagonist Stephen Rojack. Rojack is a decorated war-hero, former congressman, talk-show host, and university professor. He is depicted as the metaphorical embodiment of the American Dream.
ellauri109.html on line 567: Roth and Bloom divorced, miserably, in 1995. A year later, Bloom published a memoir, “Leaving a Doll’s House,” in which Roth was depicted as brilliant and initially attentive to the demands of her career, but also as unpredictable, unfaithful, remote, and, at times, horribly unkind, not least about Bloom’s devotion to her grown daughter. The book quoted incensed faxes that Roth sent Bloom at the end of their union, demanding that she pay sixty-two billion dollars for failing to honor their prenuptial agreement, and another bill for the “five or six hundred hours” that he had spent going over her lines with her.
ellauri140.html on line 97: Gambrina F+, Gambrina, la reine des bières! daughter of Agape and sister to Priamond, Diamond, and Triamond. Cambina is depicted holding a caduceus and a cup of nepenthe, signifying her role as a figure of concord. She marries Cambell after bringing an end to his fight with Triamond.
ellauri142.html on line 841: While the male yakshas are depicted in Hindu art and architecture as portly and deformed, the yakshis or yakshinis are depicted as women of great charm and beauty. We find references to the yakshas and yakshinis in the epics, the Puranas and in the works of ... etc.etc.
ellauri142.html on line 842: Rakshasa, are cannibalistic beings in Hinduism, Buddhism and Jainism. Rakshasas are also called "man-eaters". Rakshas is also used to describe Asuras, which are power seeking deities that lack divinity. They are often depicted as antagonists in Dharmic religious scriptures.
ellauri147.html on line 83: Having completed her university studies, Tyynni took up the teaching of Finnish in evening classes, but the urge to write proved stronger than the duty to teach. Her first poetry collection, Kynttilänsydän (‘Candlewick’), was published in 1938. Two years later she published a second collection Vesilintu (‘waterfowl’). With the outbreak of war, her poetry changed: Lähde ja matkamies (’The spring and the traveller’), Lehtimaja (‘The arbour’) and Soiva metsä (‘The ringing forest’) all reflected the defensive spirit of the country. Tyynni also depicted womanhood, the experiences of women in childbirth and motherhood. Later feminist research in particular has praised Tyynni as a pioneer for her lyrics dealing with childbirth.
ellauri147.html on line 98: In the mid-twentieth century Finnish literature had adopted the free verse of modern poetry. Ale Tyynni however went back to a lyrical style, the ballad. Tyynni’s poems were typical of ballads, offering fateful tales dealing with falling in love and sorrow, and life’s turning points. Balladeja ja romansseja (’Ballads and romances’) appeared in 1967. And Tarinain lähde (‘The source of the tales’, 1974) depicted the death of a loved one, sorrow and solitude. Nobody cared to read such balderdash any more.
ellauri147.html on line 255: Some critics appeared ambivalent, such as Jo Ellison writing for the Financial Times. On one hand she expresses admiration for the way Darren Star manages to depict "a version of womanhood in which promiscuity, bossiness and shopaholicism are depicted as qualities to be celebrated"; on the other "the major plot lines might have been written in the 1940s and the Frenchies are routinely cast as vain, preening and parochial." She concludes "Cliché-ridden and completely outdated: Darren Star´s ´Sex and the Cité´ will no doubt be monstrously successful."
ellauri147.html on line 257: Many French critics condemned the show for negatively stereotyping Parisians and the French. Charles Martin wrote in Première that the show unfairly stereotyped and depicted the French as "lazy individuals who never arrive at the office before the end of the morning are flirtatious and not really attached to the concept of loyalty, are sexist and backward, and, have a questionable relationship with showering".
ellauri156.html on line 303: The inference is often drawn that Bathsheba should not have been exposing herself as she did, and that it was her indiscretion which started this whole sequence of events. Some think her actions may have been deliberate (She knew David was there and could see. . . .), while others would be more gracious and assume it was simply poor judgment. Let me point out several things from the text. First and foremost, when Nathan pronounces divine judgment upon David for his sin, Bathsheba and Uriah are depicted as the victims, not the villains. When Adam and Eve sinned, God specifically indicted Adam, Eve, and the serpent, and each received their just curse. This is simply not the case with Bathsheba. Nowhere in the Bible is she indicted for this sin. It may be that the author did not choose to focus upon Bathsheba, but even in this case, the Law would clearly require us to consider her innocent until proven guilty. (Which law? Not biblical law for sure, take for instance Susan's case, where Daniel had to called upon to prove her innocence.)
ellauri156.html on line 576: Third, “How fast can a Christian fall?” This fast [Bob flaps his hands]. It is amazing how quickly David falls into the sins depicted in this one chapter. In a matter of weeks, or months at best. Apart from God's sustaining grace, we can fall very far, very quickly. Let us be reminded of this fact from David's tragic experience.
ellauri160.html on line 587: Lilith is often depicted naked and with longer hair and frequently in a seductive dance pose like Ardit-Lili. (Eli se on toi joka seisoo jalat harallaan pillu ärvöllään.) In the inscriptions surrounding the images she is described as a female demon who strangles babies at their hour of birth. Mabhalta, her usual companion, is described on one of the bowls as “the great destroyer of fire.”
ellauri191.html on line 702: "for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novel cycle Les Thibault"
ellauri191.html on line 1064: "for the epic force with which he has traced themes and depicted human destinies drawn from the history of his country"
ellauri203.html on line 225: Appolinaria Suslova was perhaps the woman who hurt Dostoevsky most. According to Slonim: “He winced while calling her name, he was in communication with her while married; he always depicted her in his novels. Until his death he remembered her caress and slaps in the face. He was devoted to this seductive, cruel, unfaithful and tragic love.”
ellauri210.html on line 1115: Between 1937–1938 Carrington painted a Self-Portrait, where she is perched on the edge of a chair in this curious, dreamlike scene, her hand outstretched toward a prancing hyena and her back to a tailless rocking horse flying behind her. The hyena depicted in Self-Portrait (1937–38) joins both male and female into a whole, metaphoric of the worlds of the night and the dream. The symbol of the hyena is present in many of Carrington's later works, including "La Debutante" in her book of short stories The Oval Lady.
ellauri219.html on line 520: Traditionally, Mexican Tree Of Life sculptures came from Metepec, in the State Of Mexico, and depicted scenes from The Bible. The one on the Sgt. Pepper album cover is also a candlestick.
ellauri248.html on line 244: In Daniel 6, Daniel is raised to high office by his royal master Darius the Mede. Daniel's jealous rivals trick Darius into issuing a decree that for thirty days no prayers should be addressed to any god or man but Darius himself; anyone who disobeys this edict is to be thrown to the lions. Pious Daniel continues to pray daily to the God of Israel; and the king, although deeply distressed, must condemn Daniel to death, for the edicts of the Medes and Persians cannot be altered. Hoping for Daniel's deliverance, Darius has him cast into the pit. At daybreak the king hurries to the place and cries out anxiously, asking if God had saved his friend. Daniel replies that his God had sent an angel to the jaws of the lions, "because I was found tasteless before them". The king commands that those who had conspired against Daniel be thrown to the poor overfed lions in his place with their tasty wives and children, and that the whole world should tremble and fear before the God of Daniel. Although Daniel is sometimes depicted as a young man in illustrations of the incident, James Montgomery Boice points out that he would have been over eighty years old at the time. No wonder perhaps that he did not entice the lions.
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ellauri264.html on line 415: Norm was seen rambling about Black Lives Matter and making homophobic and racist remarks, using the "n" word with his pants around his ankles (he was wearing soiled shorts underneath). A Black woman sitting in the front row stares at Pattis throughout the nearly eight-minute set, clearly unimpressed. This past year he infuriated the New Haven National Association for the Advancement of Colored People, a former ally, by posting a racially charged meme on his Facebook page. The post depicted three hooded white beer cans arrayed around a brown bottle hanging from a string. Its caption: “Ku Klux Coors.” Civil rights activists called it disgusting and racist. Pattis called it funny and free speech.
ellauri285.html on line 145: The objects included coins, pipes, boxes, figurines and cuneiform tablets that depicted various biblical scenes, including Moses handing out the tablets of the Ten Commandments. On November 14, 1907, the Detroit News reported that Soper and Scotford were selling copper crowns they had supposedly found on heads of prehistoric kings, and copies of Noah's diary.
xxx/ellauri075.html on line 383: Kitt died of colon cancer on Christmas Day 2008, three weeks short of her 82nd birthday at her home in Weston, Connecticut. Her daughter, Kitt McDonald, described her last days with her mother: I was with her when she died. She left this world literally screaming at the top of her lungs. She was also a guest star in "Once Upon a Time in Springfield" of The Simpsons, where she was depicted as one of Krusty's past marriages.
xxx/ellauri091.html on line 300: In 1885 Hauptmann set up a home with his wife in the little lakeside village of Erkner. Abandoning his early romantic ideals, he became convinced that life should be depicted as it is. From the intellectual currents of his day he adopted a belief in scientific causality and materialism. His early stories 'Fasching' (1887) and 'Bahnwärter Thiel' (1888) were tales of simple people, although there is also a level which transcends the boundaries of realism.
xxx/ellauri103.html on line 229: I’m hoping that crime writers, for example, don’t all have personal experience of committing murder. Me, I’ve depicted a high school killing spree, and I hate to break it to you: I’ve never shot fatal arrows through seven kids, a teacher, and a cafeteria worker, either. We make things up, we chance our arms, sometimes we do a little research, but in the end it’s still about what we can get away with – what we can put over on our readers. And it is surprisingly easy, you wouldnt believe what the idiots are ready to swallow, especially if it agrees with their own prejudice.
xxx/ellauri122.html on line 1001: depicted the Jews as licentious and sexually abusive, it was
xxx/ellauri123.html on line 376: Even after his death in 1988 the discussion about Weinreb in the Netherlands has not come to an end. In a Dutch biography by Regina Grüter published in 1997, Een fantast schrijft geschiedenis, Weinreb was depicted as a sufferer from pseudologia fantastica. se oli mytomaani toisin sanoen!
xxx/ellauri124.html on line 518: Raising Hands Emoji: The two raised hands depicted in the above emoji are used to
xxx/ellauri127.html on line 709: Endymion tarkottanee puolisukeltajaa. Kuuhullu astronomi tai sit paimen vaan. Astronomi mainitaan merenneitopätkässsä. Octopussy's garden in the waves. The 4th century Babylonian god of the sea was known as Oannes who was portrayed as a man with a fish tail in place of legs. Oannes would appear out of the ocean every day as a fish-human creature to share his wisdom with the people along the Persian Gulf, then return to the sea at night. There was also Atargatis, a Syrian moon and sea goddess, her story tells us that after causing the death of her mortal lover she fled to the sea and took the form of a woman above the waist and a fish below, for this reason she became known as a mermaid goddess. During medieval times mermaids were considered as matter-of-factly alongside other aquatic animals, such as whales and dolphins. The goddess Venus is sometimes depicted as a mermaid, being born from a giant clam shell.
xxx/ellauri157.html on line 104: Jordaens’s large painting of The Wife of King Candaules displaying herself to Gyges is in the Nationalmuseum, in Stockholmii. In the large painting, the Queen is depicted lifesize, seen from behind, standing before a canopied bed. She is virtually naked, but for a string of pearls and a lace-trimmed cap. Just as she is about to step into her bed, she pauses and casts a backward glance, apparently addressing the viewer with a conspiratorial smile. On the far right of the picture, Gyges can be glimpsed craning his head through a gap in the curtain, with the King close behind him.
xxx/ellauri166.html on line 343: The Ruch Ah Qudsh is the spirit or character aspect of Yahuah, and therefore a part of Yahuah (Isaiah 40:13). The Ruach is pictured allegorically throughout the Tanakh as the feminine or motherly aspect of Yahuah, and is also synonymous with wisdom, as depicted in the Proverbs where wisdom says, "Yahuah possessed me in the beginning of his way, before his works of old. I was set up from everlasting, from the beginning, or ever the earth was." (Proverbs 8:22,23) The phrase, "YHUH possessed me", indicates that wisdom is the Ruach, or the bride, especially since wisdom is portrayed as feminine.
xxx/ellauri179.html on line 325: The Garden of Eden, however, a book brimming with the author’s vulnerability just as A Farewell to Arms is, treats intimate and delicate matters. Paxun eufemismikuorrutuxen alle kurkistaen: tässä niteessä on varmaan erityisen paljon homostelua. "She is depicted with fascination and fear, like Marcel Proust’s Albertine." No niin aina! "Eros and Thanatos, love and death, paradise and trespass." No on se vittua!
xxx/ellauri208.html on line 1057: Tablet I continues with legends about overpopulation and plagues, mentioning Atra-Hasis only at the end. Tablet II begins with more human overpopulation. To reduce this population, Enlil sends famine and drought at formulaic intervals of 1200 years. Accordingly, in this epic, Enlil is depicted as a cruel, capricious god, while Enki is depicted as kind and helpful, perhaps because priests of Enki were writing and copying the story. Enki can be seen to have parallels to Prometheus, in that he is seen as man's benefactor and defies the orders of the other gods when their intentions are malicious towards humans. Tablet II remains mostly damaged, but it ends with Enlil's decision to destroy humankind with a flood, with Enki bound by oath to keep this plan secret.
xxx/ellauri225.html on line 273: Philosophical Taoism had a large role in Le Guin´s world view, and the influence of Taoist thought can be seen in many of her stories. Many of Le Guin´s protagonists, including in The Lathe of Heaven, embody the Taoist ideal of leaving things alone. The anthropologists of the Hainish universe try not to meddle with the cultures they encounter, while one of the earliest lessons Ged learns in A Wizard of Earthsea is not to use magic unless it is absolutely necessary. Taoist influence is evident in Le Guin´s depiction of equilibrium in the world of Earthsea: the archipelago is depicted as being based on a delicate balance, which is disrupted by somebody in each of the first three novels. This includes an equilibrium between land and sea, implicit in the name "Earthsea", between people and their natural environment, and a larger cosmic equilibrium, which wizards are tasked with maintaining. Another prominent Taoist idea is the reconciliation of opposites such as light and dark, or good and evil. A number of Hainish novels, The Dispossessed prominent among them, explored such a process of reconciliation. In the Earthsea universe, it is not the dark powers, but the characters´ misunderstanding of the balance of life, that is depicted as evil, in contrast to conventional Western stories in which good and evil are in constant conflict, wearing white and black stezons, respectively. The idea of leaving good enough alone, in particular, is deeply un-American.
xxx/ellauri225.html on line 300: Each volume of Anals of the Western Shore also describes the coming of age of its protagonists, and features explorations of being enslaved to one´s own power. The process of growing up is depicted as seeing beyond narrow choices the protagonists are presented with by society. In Gifts, Orrec and Gry realize that the powers their people possess can be used in two ways: for control and dominion, or for healing and nurturing. Which will it be? This recognition allows them to take a third choice, viz. make like a tree and leave. This wrestling with choice has been compared to the choices the characters are forced to make in Le Guin´s short story "The Ones Who Walk Away from Omelas". Similarly, Ged helps Tenar in The Tombs of Atuan to value herself and to find choices that she did not see, leading her to leave the Tombs with him. But remember, Le Guin never left Portland where her wimpy husband could barely hold a teaching job.
xxx/ellauri225.html on line 304: The Dispossessed, set on the twin planets of Urras and Anarres, features a planned anarchist society depicted as an "ambiguous utopia". The society, created by settlers from Urras, is materially poorer than the wealthy society of Urras, but ethically and morally more advanced. Unlike classical utopias, the society of Anarres is portrayed as neither perfect nor static; the protagonist Shevek finds himself traveling to Urras to pursue his research. Nonetheless, the misogyny and hierarchy present in the authoritarian society of Urras is absent among the anarchists, who base their social structure on cooperation and individual liberty. The Eye of the Heron, published a few years after The Dispossessed, was described as continuing Le Guin´s exploration of human freedom, through a conflict between two societies of opposing philosophies: a town inhabited by descendants of pacifists, and a city inhabited by descendants of criminals.
xxx/ellauri225.html on line 306: Always Coming Home, set in California in the distant future, examines a warlike society, resembling contemporary American society, from the perspective of the Kesh, its pacifist neighbors. The society of the Kesh has been identified by scholars as a feminist utopia, which Le Guin uses to explore the role of technology. Scholar Warren Rochelle stated that it was "neither a matriarchy nor a patriarchy: men and women just are". Ich bin nur. "The Ones Who Walk Away From Omelas", a parable depicting a society in which widespread wealth, happiness, and security, comes at the cost of the continued misery of a single child, has also been read as a critique of contemporary American society. The Word for World is Forest explored the manner in which the structure of society affects the natural environment; in the novel, the natives of the planet of Athshe have adapted their way of life to the ecology of the planet. The colonizing human society, in contrast, is depicted as destructive and uncaring; in depicting it, Le Guin also critiqued colonialism and imperialism, driven partly by her disapproval for U.S. intervention in the Vietnam War.
xxx/ellauri230.html on line 650: In Chinese art, the Four Gentlemen or Four Noble Ones (Chinese: 四君子; pinyin: Sì Jūnzǐ), literally meaning "Four Junzi", is a collective term referring to four plants: the plum blossom, the orchid, the bamboo, and the chrysanthemum. The term compares the four plants to Confucian junzi, or "gentlemen". They are most typically depicted in traditional ink and wash painting and they belong to the category of bird-and-flower painting in Chinese art. In line with the wide use of nature as imagery in literary and artistic creation, the Four Gentlemen are a recurring theme for their symbolism of uprightness, purity, humility, and perseverance against harsh conditions, among other virtues valued in the Chinese traditions.
xxx/ellauri232.html on line 88: The dismantling of the welfare system over the last several decades, congruent with the ‘New Labourisation’ of the Swedish Social Democrats and the tax-cutting policies of the centre-right governments from 2006 to 2014, is, in familiar scapegoating, being blamed on refugees depicted as dead weights burdening the country.
xxx/ellauri250.html on line 563: In his early teen years, Bukowski had a cow when he was introduced to alcohol by his friend William "Baldy" Mullinax, depicted as "Eli LaCrosse" in Ham on Rye, son of an alcoholic surgeon. "This 'alcohol' is going to help me for a very long time," he later wrote, describing a method (of drinking) he could use to come to more amicable terms with his own life. After graduating from Los Angeles High School, Bukowski attended Los Angeles City College for two years, taking courses in art, journalism, and literature, before quitting at the start of World War II. He then moved to New York City to begin a career as a financially pinched blue-collar worker with dreams of becoming a writer.
xxx/ellauri250.html on line 608: Charles Bukowski was the inspiration behind the first chapter of Mark Manson's bestselling self-help book The Subtle Art of Not Giving a Fuck. Charles Bukowski has been depicted on television as well, namely on the Showtime comedy-drama series Californication. The show's main character Hank Moody, played by actor David Duchovny, is an author based in Los Angeles who subscribes to the same kind of lifestyle that Bukowski became known for. The show depicts profuse indulgence of alcoholism, sex and narcotics, which many critics have described as a television adaption of Bukowski'
xxx/ellauri280.html on line 104: A Chad is a stereotypical alpha male: he is depicted as an attractive, successful, muscular, cocky, and very popular among women. Chads typically resemble the common " dudebro " figure of a young, athletic white male who wears trendy clothing and only enjoys popular things.

xxx/ellauri287.html on line 332: It may surprise you to know that the Bibble describes angels nothing at all like they are typically depicted in paintings. (You know, those cute little chubby babies with wings?) A passage in Ezekiel 1:1-28 gives a brilliant description of angels as four-winged creatures. In Ezekiel 10:20, we are told these angels are called cherubim. The 6-winged model is called seraphim.
xxx/ellauri394.html on line 124: Her family were of the aliʻi class of the Hawaiian nobility and were collateral relations of the reigning House of Kamehameha, sharing common descent from the 18th-century aliʻi nui (supreme monarch) Keaweʻīkekahialiʻiokamoku. From her biological parents, she descended from Keaweaheulu and Kameʻeiamoku, two of the five royal counselors of Kamehameha I during his conquest of the Hawaiian Kingdom. Kameʻeiamoku, the grandfather of both her mother and father, was depicted, along with his royal twin Kamanawa, on the Hawaiian coat of arms. Liliʻuokalani referred to her family line as the "Keawe-a-Heulu line" after her mother's line. The third surviving child of a large family, her biological siblings included: James Kaliokalani, David Kalākaua, Anna Kaʻiulani, Kaʻiminaʻauao, Miriam Likelike and William Pitt Leleiohoku II. She and her siblings were hānai (informally adopted) to other family members. The Hawaiian custom of hānai is an informal form of adoption between extended families practiced by Hawaiian royals and commoners alike.She was given at birth to Abner Pākī and his wife Laura Kōnia and raised with their daughter Bernice Pauahi.
xxx/ellauri416.html on line 465: The Philistines were first recorded by others between 1185-1152 BCE. The Peleset, as they were called by the Egyptians, were first depicted as captives on a wall relief at Medinet Habu during the reign of Ramesses III. The Peleset were one of the several groups commonly referred to as the Sea People that were part of a serious of events that lead to the Bronze Age Collapse. The Egyptians identified ten ethnic groups as raiders and pirates that came ashore to plunder during this tumultuous time. The Peleset were one of those people. There were opportunistic mercenaries and desperate people willing to take on the greatness of Egypt, but it was probably more complex. There were certainly also refugees looking for safety.
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