Branwen Ferch Llyr Thema Rhyfel a Heddwch
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Mito, Poder Y Género En El Mabinogi
UNIVERSIDAD DE MÁLAGA Facultad de Filosofía y Letras Departamento de Ciencias Históricas MITO, PODER Y GÉNERO EN EL MABINOGI Tesis Doctoral Autor: Elena Ortuño Rodríguez Director: Dr. Gonzalo Cruz Andreotti Programa de doctorado: “La Tradición Clásica en el Campo de la Religiosidad y el Mito” [2015] AUTOR: Elena Ortuño Rodríguez http://orcid.org/0000-0002-9193-193X EDITA: Publicaciones y Divulgación Científica. Universidad de Málaga Esta obra está bajo una licencia de Creative Commons Reconocimiento-NoComercial- SinObraDerivada 4.0 Internacional: http://creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cualquier parte de esta obra se puede reproducir sin autorización pero con el reconocimiento y atribución de los autores. No se puede hacer uso comercial de la obra y no se puede alterar, transformar o hacer obras derivadas. Esta Tesis Doctoral está depositada en el Repositorio Institucional de la Universidad de Málaga (RIUMA): riuma.uma.es El avance del conocimiento es una progresión infinita hacia una meta en constante alejamiento. James George Frazer, La Rama Dorada. Be silent for as long as you like, said Rhiannon. Never has a man been more stupid than you have been. Rhiannon, Primera Rama del Mabinogi. It was through the deceit of a woman that I did to you what I did. Gronw Pebr, Cuarta Rama del Mabinogi. ÍNDICE INTRODUCCIÓN ___________________________________________________________ 1 CAPÍTULO I. ALGUNAS ACLARACIONES PREVIAS ____________________________ 7 1.1 Términos clave: Mabinogion, Mabinogi y ramas ____________________________ 7 1.2 Autor _____________________________________________________________ 21 1.3 Cronología _________________________________________________________ 27 1.4 Ediciones y traducciones utilizadas ______________________________________ 33 1.5 Transcripción de los nombres __________________________________________ 36 CAPÍTULO II. -
Rewriting a Mythic Nation: Welsh Women Writers Recovering Welsh Myth and Folklore
REWRITING A MYTHIC NATION: WELSH WOMEN WRITERS RECOVERING WELSH MYTH AND FOLKLORE BETHAN LOUISE COOMBS A submission presented in partial fulfilment of the requirements of the University of South Wales/Prifysgol De Cymru for the degree of Doctor of Philosophy September 2015 ABSTRACT This thesis examines the function of Welsh mythology, fairy tale and folklore in a selection of works by twentieth- and twenty-first-century Anglophone Welsh women writers who choose to engage with such source material. Its aim is to provide a critical response to those recoveries through feminist and postcolonial theoretical readings. Spanning a century, between 1914 and 2013, its chapters discuss novels by two canonical Welsh writers – Hilda Vaughan, whose work belongs to the first half of the twentieth century, and Alice Thomas Ellis, writing in the second half – followed by two further chapters analysing relevant material drawn from the short story and poetry genres. The final two chapters interrogate novellas by women contributors to Seren Press’s recent series, New Stories from The Mabinogion (2009 – 2013) and thus provide an inaugural critical response to that series: I examine contributions by Gwyneth Lewis, Fflur Dafydd, Trezza Azzopardi, and Tishani Doshi. Throughout this thesis I argue that in the act of recovering and retelling the source narratives, these writers both draw out issues of gender and nationhood embedded in the originals and explore contemporary issues of gender and nationhood emerging from within their socio-historic contexts. When Welsh women writers select Welsh myth, fairy tales and folklore as mediums through which to comment on those issues as paradigms of gender and nationhood, those paradigms are doubly interrogated. -
A Study of the Second Branch of the Mabinogi Through the Mythological Theories of René Girard and J. R. R. Tolkien
The Turn, the Cauldron, and the Scapegoat Efnysien as a Scapegoat What is the Mabinogion? A Study of the Second Branch of the Mabinogi Through the ! For Girard, myths are retellings of the In 1838, William Pughe and Lady Charlotte Guest’s original mimetic crisis and scapegoat events, told collection of translated Welsh Medieval prose, which Guest dubbed Mythological Theories of René Girard and J. R. R. Tolkien from the “distorted view” of the “violent mob.” ‘the Mabinogion’ was published for the first time. This work and its In order for the self-deception of the mob to take subsequent translations are now considered by many--however Rebecca Fox For more information, contact: place--because the mob must unanimously Rebecca Fox unfairly--to be a sort of essential canon of Welsh myth. However, Hope College, Holland, MI accept that a random victim’s sacrifice will Andrew W. Mellon Program and (920) 841-1020 before Guest and Pughe, many of these texts had not been directly [email protected] reconcile the community--the mob’s view of the linked and should not be considered to be so, since they were from Department of English Literature, Hope College victim will have to be deluded by the different eras and in different styles. Modern Welsh translator and scapegoating mechanism. Girard calls this student of the Mabinogion Will Parker explains that not only were “méconaissance,” which can be translated as Brân, the gigantic king of Efnisien's self-sacrifice these texts not related, they also had a history beyond the Middle by T. -
The Daughters of Modron: Evangeline Walton's Feminist Re-Visioning Of
The Daughters of Modron: Evangeline Walton’s Feminist Re-visioning of the Mabinogi Nicole A. Thomas February 2013 Submitted in partial fulfilment of the requirements for the degree of PhD in English Literature i Summary The Mabinogi Tetralogy by Evangeline Walton consists of four novels: Prince of Annwn (1974), The Children of Llyr (1971), The Song of Rhiannon (1972) and The Island of the Mighty (1970, first published under the title The Virgin and the Swine, 1936). This thesis locates the Tetralogy as a founding text of modern feminist fantasy fiction by analysing its rewriting of the Four Branches of the Mabinogi. The analysis demonstrates how feminist debate, Welsh medieval literature and Celtic history combine to produce an important, if hitherto largely ignored, contribution to both fantasy fiction and women’s writing. Walton re-visions the Mabinogi as a tale of a fictional Celtic Wales’s transition from a mother-worshipping tribal society to the patriarchal, monotheistic power structure that governed the construction of the medieval text. The fantasy genre which Walton helped form enables the author to use magic as a symbol of female agency. The female characters in The Mabinogion Tetralogy with the strongest connection with the fictional deity referred to as the Mother – Rhiannon and Arianrhod – also have the highest degree of magical capabilities. Conversely, those who lose their connection with the Mother – Branwen, Penardim and Blodeuwedd – become subject to the control of their male counterparts. A feminist reading of the Tetralogy, which draws upon the work of Luce Irigaray, reveals Walton’s series as a story about the cultural demise of Mother-worship and the institutionalisation of a patriarchal society that permanently re-defined gender roles. -
Enchantment, Treasures and the Otherworld in the Four Branches of the Mabinogi
Enchantment, Treasures and the Otherworld in the Four Branches of the Mabinogi Darren Winter 96000676 orcid.org/0000-0001-5898-88302017 A thesis submitted to the University of Wales, Trinity Saint David in part fulfilment of the requirements for the degree of Master of Arts, 2017 Master’s Degrees by Examination and Dissertation Declaration Form 1. This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Name. Darren Winter Date: 15th March 2017…………………………………………………………... 2. This dissertation is being submitted in partial fulfilment of the requirements for the degree of: M.A in Celtic Studies Name. Darren Winter Date: 15th March 2017…………………………………….……….…………... 3. This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Name. Darren Winter Date: 15th March 2017……………………………………...………………………. 4. I hereby give consent for my dissertation, if accepted, to be available for photocopying, inter- library loan, and for deposit in the University’s digital repository Name. Darren Winter Date: 15th March 2017……………………………….…………………………. Supervisor’s Declaration. I am satisfied that this work is the result of the student’s own efforts. Signed: …………………………………………………………………………... Date: ………………………………………………………………………. Contents List of Figures List of Tables Abbreviations Abstract Introduction p. 1 Chapter 1: Literary Review p. 2 Chapter 2: Enchantments p. 12 Chapter 3: Treasures p. 39 Chapter 4: Otherworld and Christian Influences p. 57 Conclusions p. 69 Appendix I: Word and Phrase Frequency p. 79 Appendix II: International Story Motifs p. 83 Bibliography p. -
Sylwadau Rhagymadroddol
Cymraeg Safon Uwch – Help Llaw gydag astudio Y Mabinogi: Sylwadau Rhagymadroddol Yr Athro Gwyn Thomas @ebol Cydnabyddiaethau Dyluniwyd gan Stiwdio Ceri Jones , [email protected] Paratowyd gan Atebol Cyfyngedig , Adeiladau’r Fagwyr, Llanfihangel Genau’r Glyn, Aberystwyth, Ceredigion SY24 5AQ www.atebol.com Noddwyd gan Lywodraeth Cynulliad Cymru Y Mabinogi: Sylwadau Rhagymadroddol Y MABINOGI: SYLWADAU RHAGYMADRODDOL Fe ddefnyddir dau deitl am gasgliad o chwedlau Cymraeg o’r Oesoedd Canol, sef, ‘Y Mabinogi’, a ‘Y Mabinogion’. Dim ond am BedairCainc y Mabinogi (sef y chwedlau ‘Pwyll Pendefig Dyfed’, ‘Branwen ferch Llŷr’, ‘Manawydan fab Llŷr’, a ‘Math fab Mathonwy’) y mae’n briodol defnyddio’r teitl ‘Y Mabinogi’. Y mae’r gair yn digwydd yn y PedairCainc, ond y mae ‘Mabinogion’ yn digwydd yno hefyd. Barnwyd mai ‘Mabinogi’ oedd y ffurf gywir. Ond defnyddiodd Charlotte Guest y teitl ‘Mabinogion’ am y PedairCainc yn ogystal â nifer o chwedlau Cymraeg eraill yn ei chyfieithiadau Saesneg dylanwadol hi ac, o hir arfer, y mae ‘Y Mabinogion’ wedi dod yn deitl cymeradwy am chwedlau Cymraeg o’r Oesoedd Canol. Ond, yma, fe ddefnyddir y teitl ‘Y Mabinogi’ am y PedairCainc. Chwedlau llafar oedd ‘Y Mabinogion’ i ddechrau ac y mae ysgolheigion diweddar – yn enwedig yr Athro Sioned Davies - wedi dangos inni’r elfennau llafar sydd yn y chwedlau hyn. Yr oeddynt, meddir, wedi eu hadrodd mewn llysoedd am genedlaethau cyn iddynt gael eu hysgrifennu am y tro cyntaf yn nechrau’r bedwaredd ganrif ar ddeg, yn y llawysgrif a adnabyddir fel Llyfr Gwyn Rhydderch – a bod chwedl Culhwch acOlwen , sydd yn hŷn na PhedairCainc y Mabinogi – i’w chael yn ysgrifenedig yn Llyfr Gwyn Rhydderch, ac yn Llyfr Coch Hergest, tua dechrau’r bymthegfed ganrif. -
THE 'UNLIKELY FEMALE' CHARACTERS of the MABINOGI Kathy E. Shimpock, 1302078 B.A., J.D., M.L.L., M.B.A Submitted in Partial
THE ‘UNLIKELY FEMALE’ CHARACTERS OF THE MABINOGI Kathy E. Shimpock, 1302078 B.A., J.D., M.L.L., M.B.A Submitted in partial fulfilment of the requirements for the degree of MA Celtic Studies University of Wales, Trinity Saint David 2017 Master’s Degrees by Examination and Dissertation Declaration Form . 1. This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Name..……Kathy E. Shimpock……………………………………………………………... Date ………September 25, 2017.…………………………………………………………... 2. This dissertation is being submitted in partial fulfilment of the requirements for the degree of ……Master of Arts in Celtic Studies…………………….................................. Name….……Kathy E. Shimpock……………………………………………………………. Date ………September 25, 2017.………………………………….…………..…………... 3. This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Name……Kathy E. Shimpock..……………………………………………….………………. Date: ……September 25, 2017……………………………………...………………………. 4. I hereby give consent for my dissertation, if accepted, to be available for photocopying, inter- library loan, and for deposit in the University’s digital repository Name…Kathy E. Shimpock……………………………………………………………………. Date… September 25, 2017…………………………………….…………………………….. Supervisor’s Declaration . I am satisfied that this work is the result of the student’s own efforts. Signed: ………………………………………………………………………….. -
Tree of Leaf and Flame: Tales from the Mabinogi Free
FREE TREE OF LEAF AND FLAME: TALES FROM THE MABINOGI PDF Daniel Morden,Brett Breckon | 100 pages | 01 Nov 2012 | GOMER PRESS | 9781848513877 | English | Dyfed, United Kingdom Tree of Leaf and Flame | Aberystwyth Arts Centre A leading university. Welcoming and ambitious. The School of Welsh has undertaken research into the Mabinogion for over 30 years. Regarded by many as one of Wales' greatest contributions to European literature, the Mabinogion is a rich mix of Celtic mythology and Arthurian romance captured by anonymous authors in eleven tales. The book has wonderful characters and stories. It tells of Gwydion the shape-shifter, who can create a woman out of flowers; of Math the magician whose feet must lie in the lap of a virgin; of hanging a pregnant mouse and hunting a magical boar. Dragons, witches, and giants live alongside kings and heroes, and quests of honour, revenge, and love are set against the backdrop of a country struggling to retain its independence. A new updated English Tree of Leaf and Flame: Tales from the Mabinogi has not only enhanced public understanding of the text but has led to new performances and inspired a series of modern stories. Professor Sioned Davies' acclaimed translation of the Mabinogion into English was originally intended primarily for academic use. However, its accessibility has led to a revival of interest well beyond academia. Her detailed re-examination of the text has enabled modern audiences to understand how it would have been understood by medieval listeners and, crucially, performed. A rich collection of explanatory notes and indices has helped to enhance the reader's understanding of this ancient text. -
Kirk Thomas 1 of 22 the Women of the Mabinogi
Kirk Thomas 1 of 22 The women of the Mabinogi – whose personalities range from the mysteriously elusive to the humorously practical – are among the most vivid characters in the world of the Four Branches. Do you agree? In your answer you should refer in detail to at least FOUR characters that appear in Pedeir Keinc y Mabinogi. What specific techniques are used in relation to characterization? Of all the characters in the tales collected under the name, Y Mabinogi, those in the Four Branches are far more vivid and fully realized than the others. And within the Four Branches, the modern reader cannot help but be struck with the vividness of some of them, both male and female, such as Rhiannon, Blodeuedd, Aranrhod, Gwydion and Efnysien. In fact, from this point of view some of the men are just as vivid as the women. But when examined through the eyes (or ears) of a medieval Welsh audience, the significance of the female characterizations becomes even more pronounced, lending them a depth and vividness that surpasses the men. In Pedeir Keinc y Mabinogi women manipulate men in sophisticated ways, men try to keep women subjugated (often brutally), though sometimes they fail, and there is a frequent jockeying for position between them that can be quite entertaining. Andrew Breeze even 2 stated that, ‘the Four Branches can thus be seen as that rare thing, a feminist fairy tale’.1 While this may be an exaggeration, it certainly sums up many of the motivations of the female characters in these tales. Characterization Techniques The characters in the Four Branches reveal themselves in at least four ways.2 One way is through the things that the author tells us directly, which are those things that we could not know otherwise. -
A PDF of the Dreaming the Night Field Programme in English
a legend of Wales An Adverse Camber production a legend of Wales Created and performed by Michael Harvey Storyteller Lynne Denman Singer Stacey Blythe Composer / Musician Commissioned by Adverse Camber in association with Felin Uchaf, Cardiff University School of Welsh and Aberystwyth Arts Centre The performance takes place in two halves with an interval. 02 WELCOME TO TODAY ’S PERFORMANCE AND THANK YOU FOR COMING! The source story which inspires this performance is one of the earliest works of literature found in Britain . The Fourth Branch of the Mabinogi is one of four tales, written in Middle Welsh, set in a semi-legendary Britain in wh ich characters and events cross between different realms of this world and the otherworld - leaving marks on the landscape. The written versions of these stories, found mainly in two medieval manuscripts, the White Book of Rhydderch and the Red Book of Hergest , were based on much earlier oral traditions. The stories have continued to inspire new creations and interpretations by artists working across many different artforms up to the present day . They also stoke debate and discussion – see more overleaf and on our website from Professor Sioned Davies. While part of a rich literary and oral heritage, we ’ve also found the story to be eerily contemporary. We’ d love to know your reactions , so please do get in touch or come and talk to us afterwards. Huge thanks to all the many individuals and organisations who have helped us during the piece ’s creative journey – see page 26 for more details. We hope you enjoy it! Naomi Wilds Producer 03 Michael, Lynne and Stacey working at Tomen y Mur 04 Introducing The Mabinogion I have always loved listening to stories, ever since the monthly family trips to West Wales to visit elderly aunts in my father ’s beloved home village of Pennal. -
THE ROLE of ANIMALS in the MABINOGION Susan F. Garlick
HORSES, SWINE AND MAGICAL BIRDS: THE ROLE OF ANIMALS IN THE MABINOGION Susan F. Garlick Submitted to University of Wales in partial fulfilment of the requirements for the degree of Master of Arts University of Wales, Trinity St David, Lampeter 2011 1 Master’s Degrees by Examination and Dissertation Declaration Form 1. This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed: …….…SUSAN GARLICK ……………………………………………………….. Date: ………… 16/03/11 ………………………………………………………...… 2. This dissertation is being submitted in partial fulfilment of the requirements for the degree of: …… Master of Arts (Celtic Studies) ……………………….................… Signed: ……. SUSAN GARLICK………………………………………………………... Date: ………… 16/03/11 ………………………………………………………...… 3. This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed candidate: SUSAN GARLICK………………………………….………………. Date: …………… 16/03/11 ……………………………………………………... 4. I hereby give consent for my dissertation, if accepted, to be available for photocopying, inter- library loan, and for deposit in the University’s digital repository Signed (candidate): SUSAN GARLICK…………………….………….…………...… Date: ……………… 16/03/11 …………………………………………………... Supervisor’s Declaration. I am satisfied that this work is the result of the student’s own efforts. Signed: ………………………………………………………………………….. Date: ……………………………………………………………………………... 2 University of Wales: Trinity Saint David E-Thesis Deposit Agreement Details of the Work I would like to deposit the following item in the digital repository maintained by the University, and/or in any other repository authorized for use by the University: Title HORSES, SWINE AND MAGICAL BIRDS: THE ROLE OF ANIMALS IN THE MABINOGION This item is a product of my own research endeavours and is covered by the agreement below in which the item is referred to as “the Work”. -
Research Journal of English(RJOE) Vol-3,Issue-4,2018 an International Peer-Reviewed English Journal ISSN: 2456-2696
Oray’s Publications Research Journal Of English(RJOE) Vol-3,Issue-4,2018 www.rjoe.co.in An International Peer-Reviewed English Journal ISSN: 2456-2696 A CROSS-CULTURAL STUDY OF THE SYMBOLIC SIGNIFICANCE OF CAULDRONS _____________________________________________________________ Ms. Ashwathy P V Ravindran Assistant Professor College: SIES ( Nerul ) College of Arts, Science & Commerce, Navi Mumbai,India ____________________________________________________________________________ Synopsis: Mythology is very subtle in a way as a discipline. Slightly it might look just merely just as the collection of several stories; however, it is just the extracted version of the latent of our existence. It even makes sense in this socio-cultural milieu, it becomes truly true by explaining, reasoning and functioning everything is entwined with the life- creation, rituals, culture, spirituality, destruction through natural calamities and so on. The myth itself carries an inherited quality of an in detailed and explicit meaning while provoking the multifold at a deeper level. The cauldron, an image or may be an object pre-existing, appears in mythology, is no assumption and exception to the aforesaid notion. It has several illustrations in society across the globe and serves its purpose of showing and cultivating the different times and realms. Yet, fascinatingly it has never been specified to a critical inquiry to understand the scope of its vibrancy in the region of Mythology. The reason behind this project, in essence, is to study cauldrons from the world of Mythology in different forms and dive deeper into its understanding the reasons for the repetitive and normal appearance in them, The project, subsequently, asks to analyze the allusive property of a cauldron and conclude that it is a perspective of exemplar of archetypal symbol.