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Holt, Amy-Ruth. "Shiva's divine play art and literature at a South Indian Temple /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196129102.
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Wessels-Mevissen, Corinna. "The gods of the directions in Ancient India : origin and early development in art and literature, until c. 1000 A.D. /." Berlin : D. Reimer, 2001. http://catalogue.bnf.fr/ark:/12148/cb38867430t.
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Texte remanié de: Ph.D.. Titre de soutenance : The formation and early development of the brahmanical group of directional guardian deities in Indian art, until c. 1000 A.D.Bibliogr. p. 117-127. Index.
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Aguirre-Sacasa, Roberto. "Food of the Gods." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26715.
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The thesis is a short novel, Food of the Gods, followed by a critical afterward and bibliography.In Food, four graduate students, all to varying degrees perverse, come together in a cabalistic union. Bored and desperate, they begin to transgress a series of taboos, eventually performing communal acts of aggression, murder, and even cannibalism. Frank West, one of the students, is the novel's narrator and questionable moral center. It is through his confession that the four's "monstrous deeds" are filtered through.
Thematically, Food examines the potential for evil in individuals, as well as the group dynamics which encourage such acts of violence to erupt.
The required critical afterward looks at cannibalism as a literary trope in Food and Joseph Conrad's Heart of Darkness, discussing how the athropophagous act can be read as a symbolic one, simultaneously creating and destroying boundaries between various dichotomies (such as eater/eaten or self/other) related to notions of identity.
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Kowalzig, Barbara. "Singing for the gods." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270429.
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Nye, Malory. "'A place for our Gods' : the construction of a Hindu temple community in Edinburgh." Thesis, University of Edinburgh, 1993. http://hdl.handle.net/1842/20069.
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This is an examination of the various ways in which Hindu religious traditions are being adapted and reinterpreted by people of Indian descent, now living in Edinburgh. It looks in particular at the development of worship in the context of an Edinburgh Hindu temple (Mandir), and how those involved in the temple project are constructing the notions of 'community' and 'Hinduism' around themselves. The Hindu population of approximately one thousand are divided into various groups and factions - particularly in terms of regional identity (mainly Panjabi and Gujarati) and migration history (approximately half were once resident in East Africa). Two communal institutions attempt to work across these lines of division - the temple, and a cultural organisation called the Edinburgh Indian Association. As they are an 'ethnic' minority group, it is important to consider the means by which religious and cultural ideas are being produced through interaction between Hindus and white Scots. Although principles of boundary maintenance and reactive ethnicity are useful for understanding these processes, it is also important to consider that notions of ethnic identity are often an area of intense creativity, and such creativity is as much the result of relationships within an 'ethnic' group as those between such groups. Edinburgh Hindus are reacting as much against each other as against white Scottish society. The presence of the Mandir is helping to produce several important changes within this population. Firstly, it is one of the main areas where this sense of ethnic identity is being developed. Secondly, it is a major social arena, in which the different groups and factions choose to gather together, and by doing so it encourages (and helps to construct) a sense of community. Thirdly, the notion of what it means to be a Hindu - and also of what 'Hinduism' actually is - is having to undergo rather considerable modification to accommodate the coming together of these different regional traditions. In fact, the notion that there is such a thing as 'Hinduism' is not without problems, since there are strong arguments to make that in India itself the various 'Hindu' religious traditions are not variations on a common religion, but actually distinct religions. At the same time, however, the notion that Hinduism is a unification of these diverse systems has a strong appeal to many Hindus, and has been used as the basis for several important reformist movements - such as Arya Samaj and Swaminarayan, as well as the 'counter-reformist' version of Hinduism called Sanatan Dharrn. These three traditions have been very important within the various Hindu diasporas, particularly in East Africa, and indirectly have had a strong influence in Edinburgh. However, to understand the role of Hinduism within the Edinburgh Mandir, it is also necessary to understand both the history of the temple project and of the community that is based around it. This is discussed with reference to the present day structures and organisation of the temple, the plans for the future, and the political relations between the temple leaders. This also provides the background for understanding the forms of worship that are being developed at the temple meetings. The main religious gathering - called a satsang - is first described, and then discussed with reference to how it is used as a forum in which the different regional Hindu traditions can come together without being too radically compromised. This is particularly because of the symbolic nature of these types of worship, which allow for multiple meanings and understandings within a common ritual form. This use of temple worship as an arena for divergent religious traditions is part of a process in which the temple congregation is becoming identified as a community, and at the same time this community is becoming identified with the wider concept of the 'Hindu community'. This construction is 'imagined' to a large degree by external agencies, it is also becoming an important symbolic idea (again with multiple meanings) for most Hindus living in Edinburgh. These processes of ideological construction are occurring at the same time as the physical construction of the temple building. That is, as the shape of the building is designed and constructed, the community itself - along with the notion of Hinduism - are also being created out of divergent elements. Although the temple building will one day be complete and concrete, the construction of the notions of Hinduism and community can never be complete, they are always fluid and indefinite.
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Kim, Bo-Young. "Indefinite boundaries reconsidering the relationship between Borobudur and Loro Jonggrong in Central Java /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467888511&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Johnston, Jennifer H. "Exploring Queer Possibilities in Jeanette Winterson's The Stone Gods." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1383575341.
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Hill, Mark. "Neil Gaiman's American Gods: An Outsider's Critique of American Culture." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/td/282.
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In 2001, Neil Gaiman published American Gods, a novel of American life and mythology. As a British author living in the United States, Gaiman has a powerful vantage point from which to critique American culture, landscape, and ideology. Rich with re-invented deities, legends, mythic creatures, and folk heroes cast in a decidedly American mold, American Gods examines the American character, evaluating the myths and beliefs of the culture from the vantage point of an outsider. By examining the character's allegiance to particular cultural legacies (Wednesday as the American con artist, Shadow as the cowboy), I intend to assess this outsider's understanding of what it means to be an American.
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Nirenburg, Gabriela A. "The Gods Within: Checkhov, Lorca, and the Internalization of Tragic Fate." Oberlin College Honors Theses / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1480884187543559.
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Amaral, Tiago Kern do. "Intertextuality in Neil Gaiman's American Gods." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/143658.
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A presente dissertação consiste em um estudo do romance Deuses americanos de Neil Gaiman levando em consideração suas conexões a outros textos bem como inserções de diversos textos provenientes de outros trabalhos na prosa do romance. A proposta de leitura do texto de Gaiman segundo este trabalho utiliza os conceitos de intertextualidade e arquétipos de forma a analisar a relação entre a trama de Deuses americanos às várias utilizações de textos cuja escrita “original” não é atribuída ao autor do livro inseridos (ou referenciados) na prosa do romance. Embora o objeto de estudo seja comumente visto como um livro difícil de ser categorizado dentre de um certo gênero, a proposta desta dissertação é demonstrar que o movimento e o fluxo contínuo de discursos (textos) e estilos na prosa do romance remonta a uma visão de um estrangeiro sobre os Estados Unidos e como o país foi criado: ou seja, que ele é não somente um ponto geográfico de confluência de muitos povos, mas também de muitas crenças e culturas que, de um modo ou outro, trouxeram os seus deuses consigo. A análise do uso de intertextos, intratextos e arquétipos no romance está estruturada em três capítulos centrais: o primeiro contextualiza os mitos que aparecem no romance e discute a questão de gênero literário do livro, além do conceito de América no texto de Gaiman. O segundo capítulo examina o uso de mitos por Gaiman em relação a outros trabalhos, tanto os manuscritos antigos de crenças pagãs quanto instâncias mais modernas de mito e alegoria, além de estudar as conexões entre Deuses americanos e outros textos escritos por Gaiman de acordo com o conceito de intratextualidade proposto por Affonso de Sant’Anna. Por fim, o terceiro capítulo se concentra no uso pontual de intertextos no romance, organizando-os entre alusões literárias, referências à cultura pop, além de estudar o conflito entre a era digital e o antigo reinado da fé religiosa, sem deixar de investigar o uso de arquétipos e apropriação na prosa do romance. O trabalho, assim, tem como objetivo verificar a alegação de que a qualidade intertextual do romance é essencial tendo em vista sua trama e cenário, bem como a afirmação de que ele redefine o conceito da América do final dos anos 90 como um espaço multicultural, dinâmico e mítico.This thesis consists of a study of Neil Gaiman’s American Gods in the light of its connections to other texts as well as the punctual insertions of various texts from other works in the novel’s prose. The proposed reading of Gaiman’s text employs the concepts of intertextuality and archetypes in order to further analyze the relation of the plot of American Gods to the various uses of texts - that were not originally written by the book’s author – which are inserted (or alluded to) in the novel’s prose. Although the object of study is generally seen as a book that is hard to brand within a certain genre, this thesis’ approach to the novel demonstrates that movement and the continuous flow of speeches (texts) and styles in the novel’s prose comprises an outsider’s view of America and how the country came into existence – that is, that it is the geographical conflux not only of many peoples, but also of many beliefs and cultures, which in some way or other brought their gods with them. This examination of the use of intertexts, intratexts and archetypes in the novel is structured in three main chapters: The first chapter contextualizes the myths that appear in the novel and discusses the issues of genre and the concept of America in Gaiman’s text. The second chapter analyzes Gaiman’s use of myths in relation to other works – the original manuscripts of ancient beliefs as well as modern instances of myth and allegory – along with the connections between American Gods and Gaiman’s other works according to Affonso de Sant’Anna’s concept of intratextuality. Finally, the third chapter focuses on the punctual uses of intertexts in the novel, breaking them down into literary allusions, references to pop culture and the conflict between the digital era and the age of religious faith, and the use of archetypes and appropriation in the novel’s prose. At the end of the work, I aim to assert my belief that the intertextual nature of the novel is essential to its plot and setting, and re-defines the concept of late-90’s/early 2000’s America as a multicultural, dynamic mythical space.
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Christodoulos, Zekas. "The language of the gods : oblique communication and divine persuasion in Homer's 'Odyssey' /." St Andrews, 2009. http://hdl.handle.net/10023/862.
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Mathuray, Mark. "Old gods and new worlds : on the sacred in Anglophone African literature." Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613817.
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Zekas, Christodoulos. "The language of the gods : oblique communication and divine persuasion in Homer's Odyssey." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/862.
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Often praised for its sophistication in the narrator- and character-text, the Odyssey is regarded as the ultimate epic of a warrior’s much-troubled nostos. As a corollary of both its theme and the polytropia of the main hero, the poem explores extensively the motifs of secrecy and disguise. Apart from the lying tales of Odysseus, one important, albeit less obvious, example of the tendency to secrecy and disguise is the exchanges between the gods, which constitute a distinct group of speeches that have significant implications for the action of the poem. The aim of this dissertation is to study the divine dialogues of the Odyssey from the angle of communication and persuasion. Employing findings from narratology, discourse analysis, and oral poetics, and through close readings of the Homeric text, I argue that the overwhelming majority of these related passages have certain characteristics, whose common denominator is obliqueness. Apart from Helius’ appeal to Zeus (Chapter 2), distinctive in its own narratorial rendition, the rest of the dialogues, namely Hermes’ message-delivery to Calypso (Prologue), the two divine assemblies (Chapter 1), plus the exchanges of Zeus with Poseidon (Chapter 2) and Athena (Epilogue) conform to set patterns of communication. Within this framework, interlocutors strongly tend towards concealment and partiality. They make extensive use of conversational implicatures, shed light only on certain sides of the story while suppressing others, and present feigned or even exaggerated arguments in order to persuade their addressee. Direct confrontation is in principle avoided, and even when it does occur, it takes a rather oblique form. In this communicative scheme, the procedure of decision-making is not clear-cut, and the concept of persuasion is fluid and hidden behind the indirect and subtle dialogic process.
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Adams, Ethan T. "Gods and humans in Ovid's "Metamorphoses" : constructions of identity and the politics of status /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11479.
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Taneja, Pria. "Epic legacies : Hindu cultural nationalism and female sexual identities in India 1920-1960." Thesis, Queen Mary, University of London, 2009. http://qmro.qmul.ac.uk/xmlui/handle/123456789/638.
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The thesis investigates the cultural interventions of Hindu nationalist, C. Rajagopalachari (CR), by offering a close reading of his re-tellings of the Hindu epics, The Mahabharata (1951) and The Ramayana (1956). It positions them alongside the writings of M. K. Gandhi and the key responses to Katherine Mayo’s controversial text Mother India (1927). The thesis explores the central female protagonists of the epics – Sita and Draupadi – asking how these poetic representations illuminate the ways in which femininity was imagined by an influential Hindu ideologue during the early years of Indian Independence. Using close textual analysis as my principal method I suggest that these popular-literary representations of sexual identities in Hindu culture functioned as one means by which Hindu nationalists ultimately sought to regulate gender roles and modes of being. I focus on texts emerging in the years immediately before and after Independence and Partition. In this period, I suggest, the heroines of these versions of the epic texts are divested of their bodies and of their mythic powers in order to create pliant, de-sexualised female icons for women in the new nation to emulate. Through an examination of the responses to Katherine Mayo’s Mother India (1927), and of Gandhi’s writings, I argue that there one can discern an attempt in the Hindu Indian script to define female sexual identity as maternal, predominantly in service to the nation. These themes, I argue, were later articulated in CR’s recasting of the Hindu epics. CR’s epics represent the vision of gender within Hindu nationalism that highlights female chastity in the epics, elevating female chastity into an authentic and perennial virtue. I argue, however, that these ‘new’ representations in fact mark a re-working of much older traditions that carries forward ideas from the colonial period into the period of Independence. I explore this longer colonial tradition in the Prologue, through a textual analysis of the work of William Jones and James Mill. Thus my focus concerns the symbolic forms of the nation – its mythologies and icons – as brought to life by an emergent Hindu nationalism, suggesting that these symbolic forms offer an insight into the gendering of the independent nation. The epics represented an idealised model of Hindu femininity. I recognise, of course, that these identities are always contested, always unfinished. However I suggest that, through the recasting of the epic heroines, an idea of female sexuality entered into what senior Hindu nationalist and Congressman, K.M. Munshi, called ‘the unconscious of India’.
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Stypinski, Megan Michele. "“'Reinventing the Gods': Bloomian Misprision in the Nietzschean Influence of Jim Morrison.”." Ohio Dominican University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=odu1301258607.
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Stepanek, Ellyn. "POP-CULTURE ARTIFACTS: VICE, VIRTUE AND VALUES IN AMERICAN GODS." Cleveland State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1209741511.
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Constable, Philip. "From Bhakti to Buddhism : early Dalit literature and ideology, 1888-1956." Thesis, SOAS, University of London, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343511.
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Humphrey, Paul Richard. "Gods, gender and sexuality : representations of Vodou and Santería in Haitian and Cuban cultural production." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4259/.
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This thesis analyses the manner in which gender and sexuality are explored within the context of Vodou and Santería in a number of Haitian and Cuban novels and plays. Focusing on the body as the nodal point between the physical and spiritual planes, it examines women’s negotiation of religious, social and political life in Haiti and Cuba as participants in these marginalised religious communities. The narratives these works of fiction comprise indicate the complex nature of such experiences and recognise the active participation of women in Caribbean society, challenging the way in which they have often been limited in, or omitted from, official discourse. By drawing on African-derived religious traditions in the Caribbean, these texts are inscribed within a worldview in which the physical and the spiritual, the living and the dead coexist, and one that allows divisions within and between concepts such as gender, sexuality, womanhood, space and nation to be transcended. In so doing, these authors write alternative and arguably more complete accounts of lived experience in Haiti and Cuba that serve as a source of knowledge regarding the complexities of daily life and provide a means through which the voice of the marginalised can be heard.
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Langran, P. "R.K. Narayan and V.S. Naipaul : A comparative study of some Hindu aspects of their work." Thesis, University of Leeds, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383175.
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MacKin, Ellie. "Echoes of the Underworld : manifestations of death-related gods in early Greek cult and literature." Thesis, King's College London (University of London), 2015. http://kclpure.kcl.ac.uk/portal/en/theses/echoes-of-the-underworld-manifestations-of-deathrelated-gods-in-early-greek-cult-and-literature(d08c5e3a-08f5-451b-a6f0-71d28fa11de0).html.
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This thesis examines mythic representations of death- and Underworld-related divinities in light of contemporary archaic and early classical Greek associated cultic practice. Current scholarly approaches to these so-called ‘chthonic’ divinities generally adopt a view of the divine framework of the Underworld which places death-related concerns as the primary focus of the divinities concerned. In this project I have looked at Hades, Persephone, Demeter, Hekate and the Moirai and Keres for analysis of this framework. This thesis demonstrates that the death-related functions of these divinities were not the principle factor in their characterisations, but were rather only one aspect of a more nuanced identity. More generally, this thesis demonstrates that the ways that the Greeks viewed death and utilised death-related gods in cultic and literary representations support the idea that the association with death was not the primary aspect of any of these divinities. By investigating the mythic characterisations and cultic realities of these divinities, utilising the methodological approach of thin-coherence, this thesis shows that a more nuanced picture emerges. This thesis contributes a new approach to the death-related divine, demonstrating primarily that their death-related function is not the primary source of cultic dedication. In cases where a death-related divinity does not receive cultic dedication, or significant cultic dedication, the death-related function found in their mythic profile remains their primary function. I show that death-related gods who receive cultic dedication do so within the remit of other areas of interest, and this is most usually demonstrated in the contrasting tropes death/fertility, death/agriculture, and death/marriage. These tropes are demonstrated in various ritual activities throughout this thesis. Therefore, this project shows that death is an area of concern that permeates the world of the living and is not separate from it.
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Hodge, Bryan C. "The labor of the gods ancient Near Eastern creation accounts and the purpose of Genesis 1 /." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
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Thompson, Christopher P. "Discreet Feminism: Neil Gaiman’s Subversion of the Patriarchal Society in American Gods." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2026.
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Neil Gaiman’s use of a hyper-masculine American culture in American Gods sheds light upon the multiple issues surrounding a misogynistic society in which women are treated as sexual objects and punished for their independence as sexual beings. Gaiman’s efforts at highlighting these issues are discreet and hidden under layers of patriarchal expectations, but through the use of his protagonist, Shadow, Gaiman is able to provide an alternative to the society he represents. While he successfully illustrates this more “ideal” society, his endeavors fall short and are almost imperceptible throughout his novel. Gaiman’s work in American Gods, while lacking in its overall presence, brings attention to the issues within a hyper-masculine society and it is through this unique, feminist approach that Gaiman is able to present his strong argument for change.
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Porter, Daniel F. "God among the gods an analysis of the function of Yahweh in the divine council of Deuteronomy 32 and Psalm 82 /." Lynchburg, Va. : Liberty University, 2010. http://digitalcommons.liberty.edu.
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Nicholson, Michelle A. "“To be men, not destroyers”: Developing Dabrowskian Personalities in Ezra Pound’s The Cantos and Neil Gaiman’s American Gods." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2628.
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Kazimierz Dabrowski’s psychological theory of positive disintegration is a lesser known theory of personality development that offers an alternative critical perspective of literature. It provides a framework for the characterization of postmodern protagonists who move beyond heroic indoctrination to construct their own self-organized, autonomous identities. Ezra Pound’s The Cantos captures the speaker-poet’s extensive process of inner conflict, providing a unique opportunity to track the progress of the hero’s transformation into a personality, or a man. American Gods is a more fully realized portrayal of a character who undergoes the complete paradigmatic collapse of positive disintegration and deliberate self-derived self-revision in a more distilled linear fashion. Importantly, using a Dabrowskian lens to re-examine contemporary literature that has evolved to portray how the experience of psychopathology leads to metaphorical death—which may have any combination of negative or positive outcomes—has not only socio-cultural significance but important personal implications as well.
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Gerein, James. "The bogey-men of Hinduism, British representations of Hindu holy men in literature of the Raj, 1880-1930." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0006/MQ45323.pdf.
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Carpita, Chiara. "Rebellion to the Gods : dialogue and conflict with tradition in the poetry of Amelia Rosselli from 'Primi Scritti' to 'Variazioni belliche'." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:ae1a9f6e-4503-4ea1-9a8f-83344a818077.
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This thesis focuses on Intertexuality in the Poetry of Amelia Rosselli from Primi Scritti (1952-1963) to Variazioni belliche (1959-1961). The research is based on the annotated books of the author's personal library kept in the Fondo Rosselli of Viterbo and of her personal documents, letters and original typescripts of her works held in the Centro Manoscritti Autori Moderni e Contemporanei of the University of Pavia. Rosselli's annotations are studied for the first time and they have proved to be essential for the interpretation of her poetry. Rosselli's aspiration to Gesamtskunstwerk is reflected in the composition of her library which ranges from musicology, quantum physics, Gestalt psychology, history of art and philosophy. I explored the influence of these disciplines in her work adopting an interdisciplinary approach. In particular I concentrate on the influence that her studies in etnomusicology have had on the style of her poetry. The theoretical framework of Julia Kristeva and Gian Biagio Conte enable me to draw two main intertexual strategies in Rosselli's poetry: the intertexuality of harmonics, and parody. Rosselli's use of literary allusion is a very original one: it is based on her work as a musicologist, which she articulates in the essay La serie degli armonici. In this essay Rosselli studied natural harmonics in music. Allusions develop into an intertextual fugue creating a mîse en abyme effect. Another type of allusion is the parody in which the poetic I acting as the fool challenges the literary fathers of Tradition in order to find her own space in the canon. The study of intertextuality has also some important consequences on a literary hystoriographic perspective: I recognized in her poetry what Detloff called 'the persistence of Modernism'. Her work like the one of Anglo-American modernists is characterized by a form of resilience to trauma and loss. Like the literature of survivors, Rosselli's deals with the expression of inexpressible, the fragmentation of the poetic I, and the will of re-writing her own story to overcome trauma. The ultimate result is a political and ethical cry for social justice, symphathy and peace.
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Linderholt, Hanna. "Magnus Chase och Alex Fierro, brottet mot heteronormen : Hur Rick Riordan transformerar den fornnordiska religionen i Magnus Chase and the Gods of Asgard." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-80142.
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Dodd, Raymond H. "Four musical compositions (with accompanying notes) : Prezzo Concertante for symphony orchestra; Concerto for bassoon and chamber orchestra; Sea Gods for 8-part chorus; Improvisation for wind quintet." Thesis, University of Aberdeen, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262477.
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The grouping of these four compositions is intended to create a balanced portfolio, illustrating the management of a variety of forms, media and compositional problems. The submission divides into two parts: Part I - The Compositions: (i) Pezzo Concertante A single-movement orchestral piece for double woodwind; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; 4 percussionists; harp; strings. Duration c 11' This piece is a single-movement structure, compact and complete in itself, with some display elements for each section of the orchestra. It aims to provide both an interesting challenge for professional orchestral players and a strong and direct audience appeal. (ii) Concerto for Bassoon and Chamber Orchestra. In addition to the solo part it is scored for flute; clarinet; oboe; 2 horns; trumpet; trombone; strings. Duration c 15' This work plays continuously but is subdivisible into five sections of which the first three are virtually separate movements. It is designed to have an almost chamber-musical intimacy, while at the same time giving the soloist an opportunity to display many of the possibilities of the instrument. (iii) Sea Gods This is a setting for 8-part choir of a poem by H.D. (Hilda Doolittle). Duration c 7'30'' The setting was planned for a professional choir of not fewer than 16 singers, but could be very effective sung by a large chorus. It attempts to match the vivid imagery and intense feeling of H.D.'s powerful poem. (iv) Improvisation for Wind Quintet A single-movement work. Duration c 5' This short piece was written in 1991 for the Albany Wind Quintet who gave its first performance. Part II - The Notes: These explain some of the motivations and aims which inspired each piece. A short description of each work is given, together with a brief account of some of the underlying compositional techniques and considerations.
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Crisostomo, Christian A. "Deity portrayals and basis for discord in biblical and Mesopotamian communal laments." Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p001-1219.
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Castleman, Michele Daniele. "Meeting Gods: The re-presentation and inclusion of figures of myth in early twenty-first century young adult and middle grade children’s novels." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306352172.
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Trafford, Simon J. "The theology of Aeschylus." Thesis, Swansea University, 2013. https://cronfa.swan.ac.uk/Record/cronfa42603.
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This thesis examines the theology of Aeschylus through a close text-based discussion of the nature and justice of Zeus. This will not be a dogmatic investigation that looks for signs of monotheism or 'proto-monotheism'. Rather, this thesis will examine the presentation of the god in Aeschylus, as he is found in his plays, free from any desire or attempt to form a rounded, comprehensive 'Aeschylean theology'. The first chapter considers the two closely connected divine terms, thetaepsilonozeta and deltaalphaiotamuonu. The clear-cut and easily discernible meaning of thetaepsilonozeta acts as a constant with which the more ambiguous and less determinable word deltaalphaiotamuonu can be compared and contrasted. This chapter discusses both those instances where deltaalphaiotamuonu seems to be synonymous with thetaepsilonozeta and where it does not, where the term seems to possess a meaning close to that of an individual's fortune or destiny in life. This is done in order to conclusively see how Aeschylus uses the word deltaalphaiotamuonu in the Eumenides as part of his characterisation of the Erinyes, which enables us to see more clearly what role divine terminology plays in the presentation of Zeus and the god's justice. The remaining chapters of this thesis examine Zeus in Aeschylus. First, attention is given to the old debates concerning the potential and respective influence of Homeric, Hesiodic and Presocratic conceptions of divinity on the theology of Aeschylus. Then, the final chapter of the thesis looks at the justice of Zeus primarily through a discussion of one question, whether we should understand Agamemnon as guilty in the eyes of Zeus, which it is argued we should not. It is shown that Aeschylus does not present an optimistic idea of Zeus or divine justice, and the god's rule is seen as neither kind nor benevolent. Rather a pragmatic and pessimistic view is presented to us by Aeschylus, one which recognises that Zeus is an all-powerful being in need of respect and honour and whose will must be carefully observed.
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Petrella, Bernardo Ballesteros. "Divine assemblies in early Greek and Mesopotamian narrative poetry." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:cfd1affe-f74b-48c5-98db-aba832a7dce8.
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This thesis charts divine assembly scenes in ancient Mesopotamian narrative poetry and the early Greek hexameter corpus, and aims to contribute to a cross-cultural comparison in terms of literary systems. The recurrent scene of the divine gathering is shown to underpin the construction of small- and large-scale compositions in both the Sumero-Akkadian and early Greek traditions. Parts 1 and 2 treat each corpus in turn, reflecting a methodological concern to assess the comparanda within their own context first. Part 1 (Chapters 1-4) examines Sumerian narrative poems, and the Akkadian narratives Atra-hsīs, Anzû, Enûma eliš, Erra and Išum and the Epic of Gilgameš. Part 2 (Chapters 5-8) considers Homer's Iliad, the Odyssey, the Homeric Hymns and Hesiod's Theogony. The comparative approaches in Part 3 are developed in two chapters (9-10). Chapter 9 offers a detailed comparison of this typical scene's poetic morphology and compositional purpose. Relevant techniques and effects, a function of the aural reception of literature, are shown to overlap to a considerable degree. Although the Greeks are unlikely to have taken over the feature from the Near East, it is suggested that the Greek divine assembly is not to be detached form a Near Eastern context. Because the shared elements are profoundly embedded in the Greek orally-derived poetic tradition, it is possible to envisage a long-term process of oral contact and communication fostered by common structures. Chapter 10 turns to a comparison of the literary pantheon: a focus on the organisation of divine prerogatives and the chief god figures illuminates culture-specific differences which can be related to historical socio-political conditions. Thus, this thesis seeks to enhance our understanding of the representation of the gods in Mesopotamian poetry and early Greek epic, and develops a systemic approach to questions of transmission and cultural appreciation.
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Ricozzi, Giuliana. "Gli dèi, il riso e il comico : la rappresentazione del divino nelle fonti litterarie in lingua greca." Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEP070.
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La représentation des dieux dans les sources littéraires de la Grèce antique prévoit le recours au rire et à l'humour. C’est un aspect caractéristique de la description et configuration du monde divin hellénique qui se déploie sur un arc chronologique très large, et devient l'objet d'élaboration, de réélaboration et d'investigation par les poètes, les intellectuels et les philosophes, pendant plusieurs siècles. Le rire est une composante fondamentale et récurrente tant dans la représentation des dieux que dans celle des hommes : il définit le périmètre des figures divines, tout en fonctionnant comme une sorte de connecteur entre la sphère des immortels et le monde des êtres humainsDans le corpus épique, les dieux, comme les hommes, rient et sourient ; ils utilisent l'ironie et le sarcasme, recourent à des stratégies qui amusent les autres dieux et, dans certains cas, également le public destinataire des chants. La représentation du monde olympien dans l'Iliade et dans l'Odyssée est marquée par le rire et le sourire des dieux. Tel est le cas de l'épisode d'Héphaïstos au Chant I de l'Iliade, mais aussi de l'histoire tout aussi célèbre de l'adultère d'Arès et d'Aphrodite au chant VIII de l'Odyssée. Dans le premier épisode, Héphaïstos, laid et boiteux, s'improvise échanson, un rôle destiné aux être beaux et jeunes, et il déclenche ainsi les rires des autres dieux. Le fait d’apparaître inadéquat par rapport à la tâche qu’on exécute, aussi et surtout d'un point de vue esthétique, est un mécanisme du rire qui fonctionne à la fois pour les dieux et pour les hommes, comme l'illustre le cas de Thersite. Dans le Chant d'Arès et d'Aphrodite, les dieux se moquent du couple d'amoureux pris en flagrant délit d'adultère et se laissent aller à des blagues drôles et licencieuses, comme s'ils étaient des hommes. Chez Homère, les dieux sont représentés dans toute leur puissance mais aussi avec toutes leurs faiblesses : cette incohérence, cette différence souvent soudaine, est sans doute à l'origine du plaisir que le public ancien prenait à écouter ces histoires, comme en témoignent diverses sources. La Comédie et le drame satyrique exaspèrent à leur tour l'anthropomorphisme des dieux ; les auteurs exploitent ce paradoxe, en réduisant autant que possible la différence entre hommes et dieux. La complexité des figures divines fait ainsi l'objet d'un processus de simplification e d'altération qui transforme les dieux en de véritables caricatures. La réduction des figures divines en personnages stéréotypées, caractérisées par plusieurs vices et faiblesses met en mouvement la machine comique. Aux côtés des épisodes homériques et des représentations des divinités sur la scène comique, il ne faut pas oublier, enfin, la représentation ouvertement parodique des dieux homériques dans la Batracomyomachie, et la critique humoristique de Lucien à la configuration traditionnelle du monde divin qu’avaient construite les poètes aussi bien que les philosophes. La représentation humoristique et comique du divin dans les sources antiques est le symptôme d'une dialectique ludique entre dieux et hommes, d'une attitude joyeuse, amusée et amusante de l'homme face au divin qui habite le monde, et notamment du poète face aux dieux qu’il met en scène. Cette attitude diffère clairement de l'acte réel de dérision du divin, illustré par certains mythes et dûment sanctionné. Les formes comiques, humoristiques et parodiques de la représentation du monde olympien, récurrentes dans la production littéraire grecque, semblent donc indiquer clairement un choix d’articulation et de narration de la sphère divine qui au lieu de rejeter le rire, le considère un outil fondamental pour réfléchir sur les dieux et leurs rapports avec les hommesThe representation of the gods in ancient Greek literature is characterized by laughter and humour. This aspect of the description and configuration of the divine world embraces a wide chronological arc, and becomes the object of elaboration and investigation by poets, intellectuals and philosophers, over several centuries. Laughter is a fundamental and recursive component in the representation of both gods and men. It connects mortals and immortals, and at the same time it defines the perimeter of divine figures. In literary sources related to the genre of the epic, gods, like men, laugh and smile; they use irony and sarcasm, resort to humorous jokes that amuse other gods and, in some cases, the audience to whom the songs are addressed. The representation of the Olympic world in the Iliad and in the Odyssey is marked by the laughter and smile of the gods. This is the famous case of the episode of Hephaestus in Book I of the Iliad and the equally famous story of the adultery of Ares and Aphrodite in Book VIII of the Odyssey. Hephaestus, ugly and lame, improvises himself as a cupbearer, a role destined to beautiful and young immortals, and he thus triggers the laughter of the other gods. Being inadequate in relation to the assigned task, and also from an aesthetic point of view, is a mechanism of laughter that works for both gods and men, as illustrated by the case of Thersites. In the Song of Ares and Aphrodite, the gods mock the couple of lovers caught in the act of adultery and indulge in funny and licentious jokes, as if they were men. In Homer's work, the gods are represented in all their power but also with all their weaknesses: this ambivalence is at the origin of the pleasure that the ancient public felt when listening to these stories, as various sources attest. The Comedy and the satyric drama in turn exasperate the anthropomorphism of the gods; the authors exploit this paradox, reducing as much as possible the difference between men and gods. The complexity of the divine figures is thus the subject of a process of simplification and alteration that transforms the gods into true caricatures. The reduction of divine figures into stereotypical characters, characterized by several vices and weaknesses, sets the comic machine in motion. Alongside the homeric episodes and the representations of the gods on the comic scene, we must not forget, finally, the openly parodic representation of the homeric gods in the Batrachomyomachia, and Lucian's humorous criticism of the secular configuration of the divine world, built by poets and philosophers. The humorous and comic representation of the divine is the symptom of a playful dialectic between gods and men, of a joyful and amusing attitude of man towards the religious. This attitude clearly differs from the real act of derision of the divine, illustrated by certain myths and duly sanctioned. The comic, humorous and parodic forms of representation of the Olympic world therefore seem to indicate clearly a choice of articulation of the divine sphere which does not reject but considers laughter as a fundamental tool to reflect on the gods and, consequently, on their relationship with men
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Geisser, Franziska. "Götter, Geister und Dämonen Unheilsmächte bei Aischylos : zwischen Aberglauben und Theatralik /." München : Saur, 2002. http://books.google.com/books?id=719iAAAAMAAJ.
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Soneji, Davesh. "Performing Satyabhāmā : text, context, memory and mimesis in Telugu-speaking South India." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85029.
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Hindu religious culture has a rich and long-standing performance tradition containing many genres and regional types that contribute significantly to an understanding of the living vitality of the religion. Because the field of religious studies has focused on texts, the assumption exists that these are primary, and performances based on them are mere enactments and therefore derivative. This thesis will challenge this common assumption by arguing that performances themselves can be constitutive events in which religious worldviews, social histories, and group and personal identities are created or re-negotiated. In this work, I examine the history of performance cultures (understood both as genres and the groups that develop and perform them) in the Telugu-speaking regions of South India from the sixteenth century to the present in order to elucidate the cross-fertilization among various performance spheres over time.My specific focus is on the figure of Satyabhama (lit. True Woman or Woman of Truth), the favourite wife of the god Kṛṣṇa. Satyabhama represents a range of emotions, which makes her character popular with dramatists and other artists in the Telugu-speaking regions of South India where poets composed hundreds of performance-texts about her, and several caste groups have enacted her character through narrative drama.
The dissertation is composed of four substantive parts - text, context, memory, and mimesis. The first part explores the figure of Satyabhama in the Mahabharata and in three Sanskrit Puraṇic texts. The second examines the courtly traditions of poetry and village performances in the Telugu language, where Satyabhama is innovatively portrayed through aesthetic categories. The third is based on ethnographic work with women of the contemporary kalavantula (devadasi) community and looks at the ways in which they identify with Satyabhama and other female aesthetic archetypes (nayikas). The final section is based on fieldwork with the smarta Brahmin male community in Kuchipudi village, where men continue to perform mimetic representations of Satyabhama through a performative modality known as stri-veṣam ("guise of a woman").
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Behera, Subhakanta. "Oriya literature and the Jagannath cult, 1866-1936 : quest for identity." Thesis, University of Oxford, 1999. http://ora.ox.ac.uk/objects/uuid:7b160f8c-be65-44da-a2e0-99522274060b.
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Moura, Rogério Lima de. "O CONCÍLIO DOS DEUSES NO SALMO 82 E NA LITERATURA UGARÍTICA." Universidade Metodista de São Paulo, 2012. http://tede.metodista.br/jspui/handle/tede/246.
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Psalm 82, in the beginning of its verses, shows the environment in which its song is established: the council of the gods. In this celestial meeting, one god rises up and accuses the other gods of neglecting the weaker. The gods are condemned to death and the gods who presides the gods assembly nominates another god to govern all nations of the world. The council of gods scene and the decrees promulgated in these meetings in the celestial world are recurrent in other Ancient Near East literature. In the religious literature found in Ugarit, ancient Canaanite city, El, Baal, Asherah and other deities joined to discuss issues related to the order of cosmos. In this sense, Psalm 82 share elements of the Canaanite religiosity and culture.
O salmo 82, desde o início de seus versos, mostra o ambiente no qual se situa seu cântico: o concílio dos deuses. Nessa reunião celestial, um deus se levanta e acusa os outros deuses de negligenciar os mais fracos. Os deuses são condenados à morte e o deus que preside a assembleia dos deuses nomeia outro deus para governar todas as nações da terra. A cena do concílio dos deuses e os decretos promulgados nesses encontros no mundo celestial são recorrentes em outras literaturas do Antigo Oriente Próximo. Na literatura religiosa de Ugarit, antiga cidade cananeia, El, Baal, Asherah e outras deidades se reúnem para discutir assuntos pertinentes à ordem do cosmos. Nesse sentido, o Salmo 82 compartilha elementos da religiosidade e da cultura dos cananeus.
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Johansson, Martinelle Cecilia. "Attityder till religiösa personbenämningar." Thesis, Uppsala universitet, Institutionen för nordiska språk, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-373970.
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I denna studie kombineras språkvetenskap och religionsvetenskap i syfte att undersöka studenters undermedvetna språkattityder till tre religiösa personbenämningar: muslim(er), hindu(er) och kristen(-na). Deltagarna består av studenter över hela Sverige och majoriteten har könsidentitet kvinna samt är i åldern 15-25 år. Deltagarnas språkattityder undersöks genom en enkätundersökning med ett matched guise-test och semantisk differential. Resultaten tyder på att personbenämningen kristen(-na) ger upphov till fler negativa konnotationer än framförallt muslim(er) men även hindu(er). Muslimer rankas exempelvis som mer hänsynsfulla och intelligenta än kristna. Hinduer rankas exempelvis som mjuka medan kristna exempelvis rankas som mer dumma än hinduer och muslimer samtidigt som de rankas som hänsynsfulla och sympatiska. Attityderna till dessa tre personbenämningar verkar med andra ord följa ett trestegsmönster där personbenämningen muslim(er) skapar flest positiva konnotationer, tätt följd av hindu(er) och sist personbenämningen kristen(-na) som skapar positiva och negativa konnotationer.
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Söderström, Jonatan. "Den Skrämmande Övertygelsen : Hybris och övermod som teman och motiv i tre skräckberättelser." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-55238.
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Den här uppsatsen analyserar användandet av hybris som tema och motiv i tre olika skräckberättelser, Mary Shelleys Frankenstein (1818) och H.P. Lovecrafts två noveller ”The Other Gods” (1933) respektive ”From Beyond” (1934). De tre berättelserna använder alla hybris som tema och berättartekniskt verktyg för att på liknande vis gestalta karaktärer och skräck på ett sätt som blir mer specifikt för skräck som genre. Sett utifrån en klassisk syn på begreppet man kan finna i bland annat myten om Ikaros och Noël Carrolls mer moderna begrepp under namnet ”overreacher plot” som här kan länkas till hybris-begreppet, tillsammans med andra källor, lyfter uppsatsen exempel på hur hybris är en återkommande och viktig faktor för skräcken i berättelserna. Detta trots att ett sekel skiljer Shelleys och Lovecrafts verk åt.
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Criado, Cecilia. "La teología de la Tebaida Estaciana el anti-virgilianismo de un clasicista /." Hildesheim : Georg Olms Verlag, 2000. http://catalog.hathitrust.org/api/volumes/oclc/43944306.html.
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Painesi, Anastasia. "Du récit à la représentation : la transposition de sujets de la littérature grecque antique dans l’art gréco-romain et la peinture occidentale (XVe-XIXe siècles). Le cas de la Punition Divine." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040150.
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La punition divine est un phénomène récurrent dans la mythologie grecque. L’hybris, commise par des individus vaniteux et orgueilleux aspirant à se comparer aux dieux ou même à se succéder à eux à la domination du Cosmos, provoque une série de châtiments atroces, imposés par les Olympiens à des hommes et à des femmes, à des humains et à des êtres mythiques, à des héros, à des rois et même à d’autres dieux sans discrimination. L’étude actuelle examine l’iconographie de divers types de châtiment divin dans l’art gréco-romain et la peinture occidentale (XVe-XIXe siècles). Elle analyse l’interaction entre les œuvres d’art et les sources littéraires antiques, médiévales et modernes, ainsi que les points communs remarqués entre les thèmes antiques du châtiment divin et certains épisodes bibliques ou chevaleresques. Elle se focalise enfin sur l’influence que l’iconographie de la punition divine antique a exercée sur la politique, la société et la religion aussi bien dans l’Antiquité qu’à l’époque moderneDivine punishment constitutes a recurrent phenomenon in Greek mythology. The hubristic behaviour of vain and selfish individuals, who aspire either to compare themselves to the gods or to succeed them to the domination of the Cosmos, provokes a series of atrocious tortures inflicted by the Olympians to men and women, to humans and mythical creatures, to heroes, kings and even to other gods equally.The present PhD study examines the iconography of a variety of types of Divine Punishment in the Greek and Roman art and the occidental painting (15th-19th centuries). It analyses the interaction between the various works of art and the ancient, mediaeval and modern literary sources. It pinpoints the resemblances between the ancient themes and certain biblical or chivalrous episodes. It focuses finally on the influence wielded by the iconography of divine punishment in politics, society and religion, both in Antiquity and in modern times
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Kisieliute, Ieva. "This war will never be forgotten : A study of intertextual relations between Homer's Iliad and Wolfgang Petersen's Troy." Thesis, Södertörns högskola, Institutionen för genus, kultur och historia, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3169.
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In 2004 Troy was released in movie theatres worldwide and almost immediately sparked up discussions on film’s relation to the ancient epic of Homer. The main purpose of this paper is to see the connection between Troy and Homer’s The Iliad – motion pictures’ only officially credited source of inspiration. By using comparative method and intertextual approach I try to see how a literary piece, for centuries recited and cherished by the highest academic circles is remodelled to fit the taste of a mass public. How The Iliad mutates to be a marketable product. I discuss the changes of the plot that were introduced in Troy and try to see those changes as an outcome of mutation process. Apart from the plot, the notion of a hero is also discussed: how the definition of hero changed through time? To illustrate the changes, two main heroes – Achilles and Hector are discussed, yet again using the comparative method. By approaching Troy and The Iliad as two separate cultural products (I did not view Troy as a documentary on The Iliad) I was able to connect them. I could see that the essence of the literary work and the film appears to be the same. It shows that the ancient Greek values, especially those, related to warfare and heroism, have definitely survived long enough to penetrate the modern thought.
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Charlier, Pascal. "Les intempéries dans la documentation akkadienne et leur usage théologique et idéologique dans la littérature." Doctoral thesis, Universite Libre de Bruxelles, 1996. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212280.
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Vieilleville, Claire. "Aspects de la représentation de l'autre dans les romans grecs et les Métamorphoses d'Apulée." Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1059.
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Les romans grecs et les Métamorphoses d’Apulée – même si les modalités sont différentes pour ce dernier – sont des fictions en prose qui fonctionnent autour de topoi auxquels la figure de l’Autre n’échappe pas. Bien que le monde grec soit alors radicalement différent de ce qu’il était au Ve siècle avant J.-C., période à laquelle l’identité grecque est construite par opposition à la figure du barbare, les romanciers qui prennent la plume à partir du Ier siècle avant notre ère utilisent un certain nombre de stéréotypes hérités de l’époque classique, alors mise à l’honneur par le mouvement de la Seconde Sophistique. Il s’agit d’étudier dans le détail certains éléments de la représentation de l’Autre pour déterminer qui il est, comment il se comporte, ce qui le constitue en Autre. Puis, à partir de cette esquisse, nécessairement incomplète, d’évaluer ce que cette représentation peut induire sur l’image de l’identité grecque à l’époque impériale, par le jeu de miroir que F. Hartog a décelé dans l’œuvre d’Hérodote. Une première partie est consacrée aux rapports entre l’homme et l’animal ainsi qu’à l’image de la sauvagerie, ce qui permet d’explorer les bornes romanesques de l’humanité. La seconde partie s’attache à des éléments que l’époque classique a plus particulièrement mis en avant pour distinguer les Grecs des non-Grecs : le critère de la langue, l’art de faire la guerre et le discours politique qui est tenu sur les institutions barbares. La troisième partie étudie la place des dieux et des pratiques religieuses dans la définition de l’Autre. J’espère ainsi contribuer à la compréhension du genre romanesque et des représentations culturelles de l’empire « gréco-romain »The Greek novels and The Metamorphoses of Apuleius, even if it is in different terms for the last, are prose fictions which are based on topoi, and the figure of the Other is one of them. Although the Greek world was radically different of what it was in the fifth century BC, time during which Greek identity is contructed as opposed to the figure of the barbaros, the authors of novels, who wrote from the first century BC onward, used some stereotypes inherited from classical period, which was celebrated by the Second Sophistic movement. The aim of this thesis is to study in detail some elements of the representation of the Other to determine who it is, how he behaves, what makes him other. Then, from this sketch, necessarily incomplete, to evaluate what this representation says about the image of Greek identity in the imperial age, according to the play of the mirror detected by F. Hartog in the text of Herodotus. The first part of the thesis is dedicated to the relationship between man and animal and to the image of savagery, in order to explore the novelistic limits of humanity. The second part concentrates on elements that classical period had particularly insisted on to promote the distinction between Greeks and non-Greeks : the linguistic criterion, the way to make war, and the politic discourse on the barbaric institutions. The third part study the place of the gods and of religious practices in the definition of the Other. I hope to contribute to the understanding of novel genre and of cultural representations of the « greco-roman- empire »
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Goldberg, Mila Danielle. "Gods, men, monsters: the defamiliarisation of myth in Beowulf and Neil Gaiman’s American gods." Thesis, 2012. http://hdl.handle.net/10210/4796.
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M.A.This dissertation considers how shifts in the representation of mythological figures, images and tales are reflective of shifts in social ideology. The texts with which this study is concerned have been chosen because of the ways in which they deal with mythological themes and images and their transference from one historical and ideological context to another. This transference is effected principally through the device of what Viktor Shklovsky called “defamiliarisation”. In Neil Gaiman‟s American Gods, the fictional America of the novel is the framing context in which Gaiman considers the nature of mythology as it begins to shift from the ancient to the new. American Gods reveals how the natures of gods and the narrative patterns through which their exploits are told to men are altered as social idioms change. The battle between the gods of ancient mythologies and those of the new world is illustrative of a society undergoing ideological and religious change, especially in the conception of the godhead. Although disparate in time, style and culture, the Anglo-Saxon epic Beowulf also engages with a mythological shift, from pagan to Christian mythological idiomatic thought. Beowulf, the great pagan warrior, and the creatures by which he finds himself confronted intermingle in complex ways to demonstrate the shift, not only in myth, but in the perception of its archetypal figures and their roles. In particular, it is the human element of mythology that is emphasised through the process of defamiliarisation. To illustrate how a text‟s mythology can be adapted in order to be relevant to a temporally and ideologically distant society, this study will also examine the adaptation of the poem Beowulf into two filmic narratives. Beowulf 2007 and Beowulf and Grendel, are both concerned with the process of myth creation and dissemination and display an awareness of their own statuses as constructed narratives. In so doing, they draw attention to the constructed nature of mythology and its ideology. The films defamiliarise Beowulf and through the translation and adaptation of the poem are able to reinvent and thus revive the poetic material.
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Prabhakaran, Varijakshi. "The religio-cultural dynamics of the Hindu Andhras in the diaspora." Thesis, 1994. http://hdl.handle.net/10413/6832.
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Mothilal, Meena Devi. "Integral development of the child : perspectives from Hindi literature." Thesis, 2007. http://hdl.handle.net/10413/2239.
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Adarkar, Aditya. "Karṇa in the Mahābhārata /." 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3019886.
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Marrewa, Karwoski Christine. "Imprinted Identity: A History of Literature and Communal Selfhood in the Nath Sampradāy." Thesis, 2020. https://doi.org/10.7916/d8-j387-0711.
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The Nath sampradāy, a community whose early Hindavi literature propagates a selfhood which is deeply enmeshed in both Hindu and Islamic traditions, has been at the forefront of Hindu right-wing agitations in the twentieth and twenty-first centuries. Examining an extensive vernacular corpus of texts–– from seventeenth-century manuscripts to twentieth-century printed books–– this dissertation investigates the changes that took place in the Nath community over the longue dureé. Analyzing this oeuvre, along with historical records, I explore both how the yogis portrayed themselves in their literature and how they were viewed by others. Specifically, this dissertation addresses how modern technologies and ideologies–– such as print, nationalism, and democracy–– merged to help create a more rigidly Hindu identity for the sampradāy in the twentieth century: a novel selfhood unlike the one previously propagated. In particular, it examines how the influential twentieth-century leader of the Goraknath temple in Gorakhpur, Mahant Digvijaynath, reimagined his Nath identity to make his community a center of Hindutvā politics in modern India.