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Horse Motifs in Folk Narrative of the Supernatural
HORSE MOTIFS IN FOLK NARRATIVE OF THE SlPERNA TURAL by Victoria Harkavy A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Master of Arts Interdisciplinary Studies Committee: ___ ~C=:l!L~;;rtl....,19~~~'V'l rogram Director Dean, College of Humanities and Social Sciences Date: ~U_c-ly-=-a2..!-.:t ;LC>=-----...!/~'fF_ Spring Semester 2014 George Mason University Fairfax, VA Horse Motifs in Folk Narrative of the Supernatural A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at George Mason University by Victoria Harkavy Bachelor of Arts University of Maryland-College Park 2006 Director: Margaret Yocom, Professor Interdisciplinary Studies Spring Semester 2014 George Mason University Fairfax, VA This work is licensed under a creative commons attribution-noderivs 3.0 unported license. ii DEDICATION This is dedicated to my wonderful and supportive parents, Lorraine Messinger and Kenneth Harkavy. iii ACKNOWLEDGEMENTS I would like to thank my committee, Drs. Yocom, Fraser, and Rashkover, for putting in the time and effort to get this thesis finalized. Thanks also to my friends and colleagues who let me run ideas by them. Special thanks to Margaret Christoph for lending her copy editing expertise. Endless gratitude goes to my family taking care of me when I was focused on writing. Thanks also go to William, Folklore Horse, for all of the inspiration, and to Gumbie, Folklore Cat, for only sometimes sitting on the keyboard. iv TABLE OF CONTENTS Page Abstract .............................................................................................................................. vi Interdisciplinary Elements of this Study ............................................................................. 1 Introduction ........................................................................................................................ -
Of ABBA 1 ABBA 1
Music the best of ABBA 1 ABBA 1. Waterloo (2:45) 7. Knowing Me, Knowing You (4:04) 2. S.O.S. (3:24) 8. The Name Of The Game (4:01) 3. I Do, I Do, I Do, I Do, I Do (3:17) 9. Take A Chance On Me (4:06) 4. Mamma Mia (3:34) 10. Chiquitita (5:29) 5. Fernando (4:15) 11. The Winner Takes It All (4:54) 6. Dancing Queen (3:53) Ad Vielle Que Pourra 2 Ad Vielle Que Pourra 1. Schottische du Stoc… (4:22) 7. Suite de Gavottes E… (4:38) 13. La Malfaissante (4:29) 2. Malloz ar Barz Koz … (3:12) 8. Bourrée Dans le Jar… (5:38) 3. Chupad Melen / Ha… (3:16) 9. Polkas Ratées (3:14) 4. L'Agacante / Valse … (5:03) 10. Valse des Coquelic… (1:44) 5. La Pucelle d'Ussel (2:42) 11. Fillettes des Campa… (2:37) 6. Les Filles de France (5:58) 12. An Dro Pitaouer / A… (5:22) Saint Hubert 3 The Agnostic Mountain Gospel Choir 1. Saint Hubert (2:39) 7. They Can Make It Rain Bombs (4:36) 2. Cool Drink Of Water (4:59) 8. Heart’s Not In It (4:09) 3. Motherless Child (2:56) 9. One Sin (2:25) 4. Don’t We All (3:54) 10. Fourteen Faces (2:45) 5. Stop And Listen (3:28) 11. Rolling Home (3:13) 6. Neighbourhood Butcher (3:22) Onze Danses Pour Combattre La Migraine. 4 Aksak Maboul 1. Mecredi Matin (0:22) 7. -
Track Artist Album Format Ref # Titirangi Folk Music Club
Titirangi Folk Music Club - Library Tracks List Track Artist Album Format Ref # 12 Bar Blues Bron Ault-Connell Bron Ault-Connell CD B-CD00126 12 Gates Bruce Hall Sounds Of Titirangi 1982 - 1995 CD V-CD00031 The 12th Day of July Various Artists Loyalist Prisoners Aid - UDA Vinyl LP V-VB00090 1-800-799-7233 [Live] Saffire - the Uppity Blues Women Live & Uppity CD S-CD00074 1891 Bushwackers Faces in the Street Vinyl LP B-VN00057 1913 Massacre Ramblin' Jack Elliot The Essential Ramblin' Jack Elliot Vinyl LP R-VA00014 1913 Massacre Ramblin' Jack Elliot The Greatest Songs of Woodie Guthrie Vinyl LP X W-VA00018 The 23rd of June Danny Spooner & Gordon McIntyre Revived & Relieved! Vinyl LP D-VN00020 The 23rd Of June the Clancy Brothers & Tommy Makem Hearty And Hellish Vinyl LP C-VB00020 3 Morris Tunes - Wheatley Processional / Twenty-ninth of May George Deacon & Marion Ross Sweet William's Ghost Vinyl LP G-VB00033 3/4 and 6/8 Time Pete Seeger How to play the Old Time Banjo Vinyl LP P-VA00009 30 Years Ago Various Artists & Lindsey Baker Hamilton Acoustic Music Club CD H-CD00067 35 Below Lorina Harding Lucky Damn Woman CD L-CD00004 4th July James RAy James RAy - Live At TFMC - October 2003 CD - TFMC J-CN00197 500 Miles Peter Paul & Mary In Concert Vinyl LP X P-VA00145 500 Miles Peter Paul & Mary Best of Peter, Paul & Mary: Ten Years Together Vinyl LP P-VA00101 500 Miles The Kingston Trio Greatest Hits Vinyl LP K-VA00124 70 Miles Pete Seeger God Bless the Grass Vinyl LP S-VA00042 900 Miles Cisco Houston The Greatest Songs of Woodie Guthrie Vinyl LP -
A Collection of Ballads
A COLLECTION OF BALLADS INTRODUCTION When the learned first gave serious attention to popular ballads, from the time of Percy to that of Scott, they laboured under certain disabilities. The Comparative Method was scarcely understood, and was little practised. Editors were content to study the ballads of their own countryside, or, at most, of Great Britain. Teutonic and Northern parallels to our ballads were then adduced, as by Scott and Jamieson. It was later that the ballads of Europe, from the Faroes to Modern Greece, were compared with our own, with European Märchen, or children’s tales, and with the popular songs, dances, and traditions of classical and savage peoples. The results of this more recent comparison may be briefly stated. Poetry begins, as Aristotle says, in improvisation. Every man is his own poet, and, in moments of stronge motion, expresses himself in song. A typical example is the Song of Lamech in Genesis— “I have slain a man to my wounding, And a young man to my hurt.” Instances perpetually occur in the Sagas: Grettir, Egil, Skarphedin, are always singing. In Kidnapped, Mr. Stevenson introduces “The Song of the Sword of Alan,” a fine example of Celtic practice: words and air are beaten out together, in the heat of victory. In the same way, the women sang improvised dirges, like Helen; lullabies, like the lullaby of Danae in Simonides, and flower songs, as in modern Italy. Every function of life, war, agriculture, the chase, had its appropriate magical and mimetic dance and song, as in Finland, among Red Indians, and among Australian blacks. -
Julie Burton
Julie Burton Fairytale Characteristics in Medieval Romances Doctoral thesis completed but not submitted, owing to the death of the author This thesis represents the state of completion the author attained before her death in March 2010. It was her final wish that it be made available to the widest possible scholarly circulation. All queries regarding this should be directed to her husband: Mr Simon Burton, 51 Double Row, Charlestown, Fife, KY11 3EJ Tel: 01383 872847 Email: [email protected] The bibliography was posthumously prepared from the footnotes by Dr Lynne Blanchfield (queries to [email protected]). Page 1 of 249 INTRODUCTION From the viewpoint of the twenty-first century, Middle English romance can be a problematic genre. Its fantastic events, stock characters, repetitive structures and contrived endings seem to belong with the fairytale of the nursery rather than with the 1 serious literature of the adult world. Stylistically, so many romances do little to counter this impression with formulaic words and phrases expressing simplistic emotions and commonplace sentiments. Yet Middle English romance was an enduring genre, popular over five hundred years or more. Although Chaucer was famously disparaging about the verse romances in his burlesque „Sir Thopas‟, many survive in the collections of, or indeed were commissioned by, worldly men, important and successful in their time. Clearly this raises a question: why are the romances, once so popular, unpalatable to the reading public of today? Any response to this question would of course be complex, not least because the romance genre notoriously embraces a range of greatly differing works. -
Storia Culturale Della Musica Americana
1 Prof. Francesco Meli STORIA CULTURALE DELLA MUSICA AMERICANA Premessa La parte riguardante la storia culturale della musica americana è preceduta dalle nozioni propedeutiche sulla formazione dell’identità americana, essenziali per comprendere l’unicità, la complessità del paese e le sue diverse espressioni artistiche, delle quali la musica è forse la più conosciuta ed amata nel mondo. Conoscere le origini della formazione culturale del paese implica comprendere meglio le strutture portanti di un immaginario che continua ad essere il motore privilegiato della superpotenza americana. 2 FORMAZIONE DELL’IDENTITA’ AMERICANA Gli studiosi sono concordi nel sostenere che tre sono i fattori principali nella formazione del mondo moderno: invenzione della stampa, nascita e sviluppo del protestantesimo, “scoperta” dell’America. Quest’ultima è un affascinante intreccio di realtà e retorica, ossia c’è il fatto, l’evento ma anche l’interpretazione dell’evento che a sua volta diviene parte integrante dell’evento stesso. Questo particolare processo interpretativo non avviene in altre comunità analoghe: ad esempio non avviene né in Canada né in Australia, la cui colonizzazione ha elementi in comune con quella degli Stati Uniti. L’America non è stata solo “scoperta” e conquistata ma è stata inventata, resa mitica e simbolica. Si tratta di una terra dove non esistono, se si escludono quelle dei nativi americani, erroneamente definiti “indiani”, radici autoctone bensì radici artificiali, ossia “create” e quindi i simboli hanno un valore sostitutivo particolarmente pregnante. Non va di certo dimenticato che le colonie americane sono state abitate da esuli, uomini in fuga da un altro continente, fuggitivi dall’ingiustizia e dalla giustizia. -
Listening to Silence: a Rhetorical Examination of Silence in the Tale Type the Maiden Who Seeks Her Brothers
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 12-2014 Listening to Silence: A Rhetorical Examination of Silence in the Tale Type The Maiden Who Seeks Her Brothers Crystal Stephens Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the English Language and Literature Commons Recommended Citation Stephens, Crystal, "Listening to Silence: A Rhetorical Examination of Silence in the Tale Type The Maiden Who Seeks Her Brothers" (2014). All Graduate Plan B and other Reports. 445. https://digitalcommons.usu.edu/gradreports/445 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Listening to Silence: A Rhetorical Examination of Silence in the Tale Type “The Maiden Who Seeks Her Brothers” by Crystal Fair Stephens Thesis Committee Dr. Claudia Schwabe Dr. Lynne McNeill Dr. Keith Grant-Davie UTAH STATE UNIVERSITY Logan, Utah 1 Dec. 2014 Stephens 1 INTRODUCTION Fairy tales are an integral part of our culture and have been for hundreds of years. Most of us grew up hearing certain stories, reading the Grimm brothers, watching Disney adaptations of classic tales, and passing these things on to the next generation. But even though we sometimes dismiss fairy tales as we get older as “stories for children,” that does not mean that fairy tales do not play an important role in our lives and cultures. -
Washington Label Discography
Washington Label Discography: Washington 300 series (12 inch LP) WLP 301 - Tom Glaser Concert (For and with Children) – Tom Glazer [10/59] Jimmie Crack Corn/Jennie Jenkins/Skip to My Lou/Fox/Put Your Finger in the Air/Hush Little Baby/Pick a Bale/Names/Come On and Join Into the Game/Little Bitty Baby/Now, Now, Now/Frog/So Long WLP 302 – Come See the Peppermint Tree – Evelyn Lohoefer and Evelyn and Donald. McKayle [1959] Follow Me/Kitchen Stuff/My Shoes Went Walking/The Yellow Bee/Jabberty-Jib/The Elf/A Shiny Penny/Putt-Putt/My Pretty Red Swing/Riddle/Dance Awhile//Jump and Spin/Riding on a Star/Me, Too/Wheels/All Mixed Up/Miriam/The Dress/The Ribbon/Carrots and Things/The Crow, The Worm and The Fish/The Moon in the Yard/Thingamabob/The Peppermint Tree/Mr. Sandman WLP 303 – Sometime-Anytime – McKayle, Stephenson, Reynolds [1959] Parade/Stuff/Watching Things Go By/Gingerbread Man/Red Wagon/Squirrel/Lunch in the Yard/Wiggle-Fidget/Not Quite Sure/Tree House/Limb of a Bright Blue Tree/Balloon/Please/Rocking Chair/Quite a Day/Rooster With a Purple Head Washington Classical 400 series (12 inch LP) WLP 401 - Beethoven: Short Piano Works - Arthur Balsam [1958] WLP 402 - Vivaldi-Telemann - New York Woodwind Quintet [1958] WLP 403 - Telemann: Don Quichotte - Newell Jenkins and Milan Chamber Orchestra [1958] WLP 404 - Vivaldi: 4 Conceri - Newell Jenkins and Milan Chamber Orchestra [1958] WLP 405 - Torelli: Sinfonias - Newell Jenkins and Milan Chamber Orchestra [1958] WLP 406 - Vivaldi: Violin Concerto, 3 Winds Concerti - Newell Jenkins and Milan Chamber -
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. -
1535274406844.Pdf
Copyright © 2005 by M.E. Sharpe, Inc. All rights reserved. No part of this book may be reproduced in any form without written permission from the publisher, M.E. Sharpe, Inc., 80 Business Park Drive, Armonk, New York 10504. The EuroSlavic fonts used to create this work are © 1986–2002 Payne Loving Trust. EuroSlavic is available from Linguist’s Software, Inc., www.linguistsoftware.com, P.O. Box 580, Edmonds, WA 98020-0580 USA tel (425) 775-1130. Library of Congress Cataloging-in-Publication Data Archetypes and motifs in folklore and literature : a handbook / edited by Jane Garry and Hasan El-Shamy. p. cm. Includes bibliographical references and index. ISBN 0-7656-1260-7 (hardcover : alk. paper) 1. Folklore—Classification. 2. Folk literature—Themes, motives. I. Garry, Jane. II. El-Shamy, Hasan M., 1938–GR72.56.A73 2004 398'.012—dc22 2004009103 Printed in the United States of America The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences Permanence of Paper for Printed Library Materials, ANSI Z 39.48-1984. ~ MV (c)10987654321 Contents Illustrations xi Preface xiii Introduction xv How to Use This Book xxv About the Editors and Contributors xxxi A. Mythological Motifs Nature of the Creator, Motif A10 el-Sayed el-Aswad 3 The Hero Cycle, Various Motifs in A Natalie M. Underberg 10 Death or Departure of the Gods, Motif A192, and Return, Motif A193 Peter L. De Rose and Jane Garry 17 Creation Myth: Cosmogony and Cosmology, Motifs A600–A899 el-Sayed el-Aswad 24 Fight of the Gods and Giants, Motif A162.1 Deeksha Nagar 32 Doomsday (Day of Judgment), Motif A1002 Judith Neaman 38 Confusion of Tongues, Motif A1333 Jane Garry 43 Origin of Pentecost, Motif A1541.6 Judith Neaman 46 Origins of Inequality, Motifs A1600–A1699 D.L. -
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. -
Zur Chronologie Der Englisschen Balladen
ZUR CHRONOLOGIE DER ENGLISSCHEN BALLADEN. Mit dem erscheinen ekles zehnten teiles der English and Scottish Popular Ballads lhat das grosse lebenswerk von pro- fessor Francis J. Child seeinen abschluss gefunden und kann nun die Wissenschaft der eBnglischen philologie in Amerika mit stolz die Vollendung ihresr bisherigen grössten leistung ver- zeichnen. Der zehnte teil von Child's werk bringt keine neuen balladen,* sondern als schllussteil wertvolle nachtrage, Indices, 1 Child sagte bereits im ^Advertisement to Part IX: "This ninth part completes the Collection of Enaglish and Scottish ballads to the extent of my knowledge of sources" — rmit ausnahme einer einzigen ballade ' Yowng Betrice', vgl. Kittredge 10, **TTY Der titel des Werkes scbhliesst (zum glück) unzählige 'Broadsides' aus, und selbst solche balladena wie "The Lady Isabella's Tragedy" (Percy Eel. 3, Book 2, No. 14), welchhe Child treffend nennt "perhaps absolutely the silliest ballad that was ewer made", wird man gern vermissen, aber andere nicht (wieder) abgedruckte möchte man doch gern sehen, wenngleich diese neugier bestraft werden würde, z. b. The Dainty Dowriby aus Herd's Mss (Child Einleitung zu 290; ' 9, 153); The Dragoon and Bessy (Maidment Sc. Ballads 1859 "from a Glasggow copy of 1800"; erwähnt in der einleitung zu 299; 9, 172). Warum mag wohl die .Nutbrown Maid ausgeschlossen sein? Die gründe, warum solche bänkelsäängerware wie The Tournament of Tottenham, der Mylner of Abyngton (die i masse von 'Mery Jests* und 'Mery baladesM), Whenas King Edgar did goveern this land etc. und ein ganzes heer von Elisabethanischen und spätereen broadsides ausgeschlossen wurde, kann man leicht verstehen: sie sind kunnstprodukte, wenngleich sie für das volk und den volksgeschmack geschriebben wurden (und in dieser hinsieht für die geschiente des volksgeschmacfckes von bedeutung sind).