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Journal articles on the topic 'Mabinogion'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Hrapof, Dmitri. "Маѳъ Маѳонъвичь: Cyfieithiad Newydd o’r Mabinogi i (Hen) Rwsieg (Маѳъ Маѳонъвичь: A New Translation of the Mabinogi to (Old) Russian)." Studia Celto-Slavica 8 (2018): 135–38. http://dx.doi.org/10.54586/oowx2105.

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Y cwestiwn cyntaf, efallai, yw a oes angen cyfieithiad newydd, a dau gyfieithiad o’r Mabinogi i’r Rwsieg yn bodoli’n barod? Yn anffodus, mae’r cyfieithiadau hynny yn anghyflawn ac weithiau yn wallus. Cafwyd y cyfieithiad cyntaf gan Liudmila Volodarskaia (2000): Кельты — Валлийские сказания — Мабиногион [Celtiaid — Chwedlau Cymreig — Mabinogion], ac am fod hwn yn gyfieithiad o Saesneg Charlotte Guest, mae’n Fictoraidd iawn ei naws (gw. yr adolygiad gan Parina (2003)). Gan Vadim Erlichman y cafwyd yr ail gyfieithiad, Мабиногион. Волшебные легенды Уэльса [Mabinogion. Chwedlau Hudol Cymru], a hwnnw bellach wedi ei argraffu ddwywaith (Erlichman 1995; Erlichman 2002). Trafodir yr argraffiad cyntaf gan Parina (2003) a’r ail argraffiad gan A. Falileyev (2002). Mae Erlichman yn dal iddo gyfieithu o destun Llyfr Coch Hergest — ac felly o Gymraeg Canol — ond oherwydd y camgymeriadau niferus, gwêl yr adolygwyr fod lle i amau a yw hynny’n hollol wir. Digon yw nodi i’r llythyren [v] Gymraeg gael ei thrawsgrifo yn <ф> [f] Rwsieg, yn hytrach na fel <в> [v], er mwyn cadw enwau yn ‘hudol’ ac yn ‘egsotig’ (Erlichman 1995: 216).

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2

Stenlund, David. "On the Mabinogion urn model." Advances in Applied Probability 50, no. 2 (June 2018): 327–46. http://dx.doi.org/10.1017/apr.2018.16.

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Abstract In this paper we discuss the Mabinogion urn model introduced by Williams (1991). Therein he describes an optimal control problem where the objective is to maximize the expected final number of objects of one kind in the Mabinogion urn model. Our main contribution is formulae for the expected time to absorption and its asymptotic behaviour in the optimally controlled process. We also present results for the noncontrolled Mabinogion urn process and briefly analyze other strategies that become superior if a certain discount factor is included.

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3

Janoušek, Hynek Daniel. "New stories from the Mabinogion and Pedeir Keinc y Mabinogi: Texts, Narratives and Tradition¹." Prague Journal of English Studies 12, no. 1 (July 1, 2023): 21–43. http://dx.doi.org/10.2478/pjes-2023-0002.

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Abstract This paper aims to explore the migration of narrative elements from four medieval Welsh tales known as the Four Branches of the Mabinogi into four recent Englishlanguage novels which are part of Welsh publisher Seren’s series New Stories from the Mabinogion. Russel Celyn Jones’s The Ninth Wave, Owen Sheers’s White Ravens, Lloyd Jones’s See How They Run, and Gwyneth Lewis’s The Meat Tree bear an explicit textual relationship to the Four Branches of the Mabinogi, a textual whole of unknown authorship. This affords an opportunity to examine the workings of what constitutes a textual tradition, both diachronically and synchronically. The article relies on Dutch cultural theorist Mieke Bal’s structuralist theory of narrative, on Welsh philologist Sioned Davies’s analyses of the medieval tales, and on Slovak literary scholar Anton Popovič’s view of tradition in terms of prototexts and metatexts. The methodology chosen consists of identifying textual variables and invariables in order to capture possible ways of examining relationships between related texts of different periods and languages within a corpus of linguistically encoded messages of a geographically defined community.

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4

Breeze, Andrew. "The Mabinogion by Sioned Davies." Yearbook of English Studies 38, no. 1-2 (2008): 253–54. http://dx.doi.org/10.1353/yes.2008.0035.

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5

Chan, Terence. "Some diffusion models for the mabinogion sheep problem of williams." Advances in Applied Probability 28, no. 3 (September 1996): 763–83. http://dx.doi.org/10.2307/1428180.

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The ‘Mabinogion sheep’ problem, originally due to D. Williams, is a nice illustration in discrete time of the martingale optimality principle and the use of local time in stochastic control. The use of singular controls involving local time is even more strikingly highlighted in the context of continuous time. This paper considers a class of diffusion versions of the discrete-time Mabinogion sheep problem. The stochastic version of the Bellman dynamic programming approach leads to a free boundary problem in each case. The most surprising feature in the continuous-time context is the existence of diffusion versions of the original discrete-time problem for which the optimal boundary is different from that in the discrete-time case; even when the optimal boundary is the same, the value functions can be very different.

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6

Chan, Terence. "Some diffusion models for the mabinogion sheep problem of williams." Advances in Applied Probability 28, no. 03 (September 1996): 763–83. http://dx.doi.org/10.1017/s0001867800046486.

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The ‘Mabinogion sheep’ problem, originally due to D. Williams, is a nice illustration in discrete time of the martingale optimality principle and the use of local time in stochastic control. The use of singular controls involving local time is even more strikingly highlighted in the context of continuous time. This paper considers a class of diffusion versions of the discrete-time Mabinogion sheep problem. The stochastic version of the Bellman dynamic programming approach leads to a free boundary problem in each case. The most surprising feature in the continuous-time context is the existence of diffusion versions of the original discrete-time problem for which the optimal boundary is different from that in the discrete-time case; even when the optimal boundary is the same, the value functions can be very different.

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7

Lumbley, Coral. "“Venerable Relics of Ancient Lore”." Journal of World Literature 5, no. 3 (July 23, 2020): 372–92. http://dx.doi.org/10.1163/24056480-00503004.

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Abstract As England’s first colony, home to a rich literary tradition and a still-thriving minority language community, Wales stands as a valuable example of how premodern traditions can and should inflect modern studies of postcolonial and world literatures. This study maps how medieval, postcolonial, and world literary studies have intersected thus far and presents a reading of the medieval Welsh Mabinogion as postcolonial world literature. Specifically, I read the postcolonial refrain as a deeply-entrenched characteristic of traditional Welsh literature, manifesting in the Mabinogion tale of the brothers Lludd and Llefelys and a related poetic triad, the “Teir Gormes” (Three Oppressions). Through analysis of the context and reception of Lady Charlotte Guest’s English translation of Welsh materials, I then theorize traditional Welsh material as postcolonial, colonizing, and worlding literature.

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8

Hopwood, Mererid, and Ariana Malthaner. "Cordo Russo, L.: Mabinogion, Relatos Galeses Medievales." Zeitschrift für celtische Philologie 70, no. 1 (October 14, 2023): 202–4. http://dx.doi.org/10.1515/zcph-2023-0010.

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9

Breeze, Andrew. "Robin Chapman Stacey, Law and the Imagination in Medieval Wales. Philadelphia: University of Pennsylvania Press, 2018, pp. 335." Mediaevistik 32, no. 1 (January 1, 2020): 330–31. http://dx.doi.org/10.3726/med.2019.01.50.

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For nearly thirty years, Professor Stacey of the University of Washington has published on early Welsh and Irish narrative. Now she sums up her work in a volume which promises exciting conclusions, juxtaposing Mabinogion texts (crown jewels of Welsh prose) with those of Welsh law (a window on Celtic society).

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10

Sanz Mingo, Carlos Alberto. "¿Hablando con mirlos? El uso de la personificación de los animales en la leyenda artúrica." Estudios Humanísticos. Filología, no. 36 (November 29, 2014): 156. http://dx.doi.org/10.18002/ehf.v0i36.1174.

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<p>Resumen</p><p>Aunque los textos que conforman la literatura artúrica no suelen presentar rasgos fabulescos, sino, más bien, mitológicos, algunas narraciones artúricas usan características propias de las fábulas para desarrollar sus ideas moralistas. Este artículo se centra en el estudio de un texto medieval galés y uno contemporáneo en inglés para demostrar cómo se hace uso y aplican las técnicas de la fábula a la leyenda artúrica.</p><p>Palabras clave: Literatura artúrica, Fábula, Mitología, <em>Mabinogion</em>, Animales.</p><p>Abstract</p> <p>Even when Arthurian literature does not usually present characteristics of fables but, rather, mythological qualities, some texts make use of fable features in order to develop a moralistic viewpoint. This article deals with the study of a Welsh medieval text and a contemporary one in English to show how the technique of the fable is used and applied to the Arthurian legend.</p> <p>Key words: Arthurian literature Fable, Mythology, <em>Mabinogion </em>Animals.</p><p> </p>

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11

Bagnall, Norma. "Mapping the Mabinogion: A Guide to Prydain." Children's Literature Association Quarterly 16, no. 2 (1991): 93. http://dx.doi.org/10.1353/chq.0.0743.

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12

Lin, Yi-Shen. "A generalization of the Mabinogion sheep problem of D. Williams." Journal of Applied Probability 53, no. 4 (December 2016): 1240–56. http://dx.doi.org/10.1017/jpr.2016.77.

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Abstract In his well-known textbook Probability with Martingales, David Williams (1991) introduces the Mabinogion sheep problem in which there is a magical flock of sheep, some black, some white. At each stage n=1,2,..., a sheep (chosen randomly from the entire flock, independently of previous events) bleats; if this bleating sheep is white, one black sheep (if any remain) instantly becomes white; if the bleating sheep is black, one white sheep (if any remain) instantly becomes black. No births or deaths occur. Suppose that one may remove any number of white sheep from the flock at (the end of) each stage n=0,1,.... The object is to maximize the expected final number of black sheep. By applying the martingale optimality principle, Williams showed that the problem is solvable and admits a simple nice solution. In this paper we consider a generalization of the Mabinogion sheep problem with two parameters 0≤p, q≤1, denoted M(p,q), in which at each stage, when the bleating sheep is white (black, respectively), a black (white, respectively) sheep (if any remain) instantly becomes white (black, respectively), with probability p (q, respectively) and nothing changes with probability 1-p (1-q, respectively). Note that the original problem corresponds to (p,q)=(1,1). Following Williams' approach, we solve the two cases (p,q)=(1,1/2) and (1/2,1) which admit simple solutions.

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13

Ward, Charlotte. "A formulaic consideration of the Mabinogion, Branch I, «Pwyll Pendeuic Dyuet»." Etudes Celtiques 29, no. 1 (1992): 423–39. http://dx.doi.org/10.3406/ecelt.1992.2024.

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14

Margarit, Lucas. "Mabinogion. Relatos galeses medievales, traducción, introducción y notas de Luciana Cordo Russo." Inter Litteras, no. 3 (October 1, 2021): 241–42. http://dx.doi.org/10.34096/interlitteras.n3.10751.

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15

Pedrosa, José Manuel. "“El golpe matador, el golpe resucitador: la herida épica y su antídoto mágico”." Nueva Revista de Filología Hispánica (NRFH) 60, no. 1 (January 1, 2012): 75. http://dx.doi.org/10.24201/nrfh.v60i1.1088.

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Fecha de recepción:8 de diciembre de 2011. Fecha de aceptación:10 de febrero de 2012. Análisis de los motivos folclóricos internacionales C742, C742.1 y E 1 1 . 1 ,que pueden resumirse así: el primer golpe que el humano da a un monstruo le hiere gravemente, pero el segundo golpe le cura o le resucita. Estudio de su relación con los motivos N642, N642.1 y N644, que pueden resumirse así: un golpe cura de manera casual una enfermedad previa. Revisión de leyendas, cuentos, creencias, supersticiones y romances que incorporan estos motivos, desde los Mabinogion galeses y Las mil y una noches hasta diversas leyendas modernas españolas, árabes e internacionales, o la novela El guardián entre el centeno, de Salinger.

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16

Sullivan, C. W. "Kenneth Morris and The Mabinogion: The Welsh Influence on Children's Fantasy." Children's Literature Association Quarterly 1987, no. 1 (1987): 101–6. http://dx.doi.org/10.1353/chq.1987.0009.

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17

Bednarski, Aleksander. "Texts in Transition: Intermediality in Peredur Son of Efrog and Cynan Jones’s Bird, Blood, Snow." Roczniki Humanistyczne 68, no. 11 (December 23, 2020): 21–36. http://dx.doi.org/10.18290/rh206811-2.

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Tekstualne metamorfozy: intermedialność w Peredurze Synu Efrawga i Bird, Blood, Snow Cynana Jonesa Niniejszy artukuł jest analizą powieści Cynana Jonesa Bird, Blood, Snow w kontekście pisanego prozą średniowiecznego walijskiego romansu dworskiego Peredur syn Efrawga, który wchodzi w skład zbioru opowieści znanego jako Mabinogion. Proweniencja średniowiecznej opowieści jest przedmiotem ożywionej debaty: różniące się od siebie wersje zachowały się w czterech rękopisach, wykazują związki z literaturą francuską, w szczególności z poematem Chrétiena de Troyes Perceval, a jednocześnie pozostają mocno osadzone w walijskiej tradycji ustnej. Analizie poddane są elementy wizualne obecne zarówno w tekście średniowiecznym, jak i w powieści Jonesa, co pozwala na potwierdzenie sformułowanej we wstępie tezy, iż warstwa kompozycyjna powieści, oparta w dużej mierze na oscylacji pomiędzy słowem a obrazem, odzwierciedla nie tylko bogatą sieć powiązań intertekstualnych, w jakie uwikłany jest Peredur, ale również metatekstualny aspekt badań historyczno-literackich poświęconych średniowiecznemu tekstowi.

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18

Fulton, Helen. "Arthur and the Sovereignty of Britain: king and goddess in the Mabinogion (review)." Parergon 10, no. 1 (1992): 139–40. http://dx.doi.org/10.1353/pgn.1992.0033.

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19

Watkins, Judith. "Un Chwedl a Dwy Ramant: tableau a vignette yn y Mabinogion." Llên Cymru 45, no. 1 (December 15, 2022): 46–68. http://dx.doi.org/10.16922/lc.45.3.

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20

Zimmer, Stefan. "De Mabinogion: oude Keltische verhalen uit Wales. Ond. red. v. K. JONGELING & M. VAN ROOTSELER." ZCPH 54, no. 1 (April 30, 2004): 281–82. http://dx.doi.org/10.1515/zcph.2005.281.

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21

Ziegler, S. "150 Jahre „Mabinogion“ – deutsch-walisische Kulturbeziehungen. Hrsg. v. B. MAIER und ST. ZIMMER unter Mitwirkung v. CH. BATKE." Kratylos 49, no. 1 (2004): 225–26. http://dx.doi.org/10.29091/kratylos/2004/1/53.

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22

DAVIES, MALCOLM. "THE HERO AND HIS ARMS." Greece and Rome 54, no. 2 (September 3, 2007): 145–55. http://dx.doi.org/10.1017/s0017383507000137.

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Arma virumque cano Virgil sang, or professed to sing, at the start of his epic, and one may reformulate the import of his programmatic words to fit a new context. Obtaining weapons he can call his own is very often a key moment near the start of the career of a folk-tale hero. And very often it is the hero's mother who equips him with them. Paradoxically, this truth may be confirmed, e contrario, by reference to the Welsh story of Lleu Llaw Gyffes from the Mabinogion, for, in that narrative, the hero's mother Aranhry seeks to thwart at its inception the career of her son – whom she had exposed, since his very existence causes her so much embarrassment – by placing a Destiny or interdiction upon him: he will never bear arms unless and until she herself bestows them. The ban is circumvented by a cunning ruse: the magician Gwydion disguises her son and himself as peripatetic bards, in which capacity they are entertained in Aranhry's castle. When Gwydion conjures up a phantom army and fleet to besiege the citadel, the alarmed Aranhry is all too ready to bestow weapon and armour on the younger of her two guests – only to find the army vanished and her own son in possession of the arms she had sworn he would not bear.

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23

Loshkareva, Maria E., and Pavel A. Ryazanov. "Saint Helen: On the Problem of British Origin." Izvestia of the Ural federal university. Series 2. Humanities and Arts 25, no. 1 (2023): 136–50. http://dx.doi.org/10.15826/izv2.2023.25.1.009.

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This article considers the problem arising from the legend formed of St Helen’s British origin. The sources from Late Antiquity known to the early medieval Latin reader do not give an exact answer to the question of the saint’s motherland. Nevertheless, Aldhelm’s treatise Prosa de virginitate and the Old English translation of Bede from the eleventh century first mention her son Constantine the Great’s birth in Britain. Conspicuously, these testimonies became the basis on which the literary and mythological plot about St Helen began to develop. According to A. Harbus, the most likely source of the legend was the translation of Bede’s text mentioned above, which, in turn, went back to Eutropius. As a result of a misunderstanding, the phrase “Constantinus in Brittania creatus imperator” was translated as “Emperor Constantine, born in Britain”. According to our hypothesis, another possible source of the plot about Constantine was the reverse Latin translation of the Greek text that was used by Aldhelm. This text went back to the Greek version of Eutropius’ Breviary made by Paeanius in the fourth century AD. The legend of St Helen further developed relying on local folklore traditions, which received literary adaptation and reinterpretation. In Historia Anglorum by Henry of Huntingdon and Historia Britonum by Geoffrey of Monmouth, St Helen became the daughter of British King Coel. The Late Antiquity evidence of the saint’s low origin (stabularia) was ignored or forgotten. Welsh legendary-historical genealogies and folklore motifs reflected in The Mabinogion played an important role in the formation of the myth. It was the version of Geoffrey of Monmouth that became widespread and was used by English chroniclers until the fifteenth century. Interpreting the version of Geoffrey, Adam of Usk presents Britain as the ancestral home of the Roman emperors and the Greek Basileis. The stability of the myth of the British Helen is explained by its extraordinary attractiveness: it turned out to be an important link between Britain and the Roman Empire allowing the island’s “peripheral” history to be woven into the fabric of world history.

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24

Evans, Dewi Wyn, and Brinley Rees. "Ceinciau'r Mabinogi." Béaloideas 67 (1999): 229. http://dx.doi.org/10.2307/20522551.

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25

Francis, Matthew. "Rewriting the Mabinogi." New Writing 15, no. 3 (December 6, 2017): 311–21. http://dx.doi.org/10.1080/14790726.2017.1403457.

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26

Bollard, John K. "Landscapes ofThe Mabinogi." Landscapes 10, no. 2 (November 2009): 37–60. http://dx.doi.org/10.1179/lan.2009.10.2.37.

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Bollard, John K. "Landscapes ofThe Mabinogi." Landscapes 10, no. 2 (November 2010): 37–60. http://dx.doi.org/10.1179/lan.2010.10.2.37.

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28

Pirotti Pereira, Gabriela. "To Take On the Nature of Wild Animals: Elements of Biological Horror in the Fourth Branch of the Mabinogi." Revista da Anpoll 51, no. 3 (December 31, 2020): 74–83. http://dx.doi.org/10.18309/anp.v51i3.1456.

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Jason Colavito (2007) descreve “horror corporal” como uma seção na ficção de horror que se ocupa das “inquietações relacionadas ao corpo físico e seu relacionamento com o mundo natural” (p. 113). Tais narrativas frequentemente emergem durante períodos nos quais há ansiedades sociais conectadas à expansão científica e algum desafio aos valores morais. O presente artigo propõe uma leitura da história “Math, son of Mathonwy” explorando a possibilidade de que esta narrativa apresenta aspectos de horror corporal. Olhando para o contexto histórico e social do manuscrito medieval Y Mabinogi (O Mabinogi), este estudo revisa os debates científicos que ocorreram na Grã-Bretanha durante o século XII, e os relaciona com as transformações corporais e punição física apresentadas no quarto ramo do Mabinogi. Esta análise foca principalmente na metamorfose da personagem Blodeuwedd, cujo corpo é permanentemente alterado como parte de um julgamento por suas ações morais. Por fim, a natureza fluida dos corpos nesta narrativa demonstra alguma semelhança com o horror corporal, por se aproximar de alguns dos debates e questionamentos introduzidos pelos estudos monásticos durante a Idade Média.

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29

Fulk, R. D. "The derivation of the name Mabinogi." Studia Celtica 53, no. 1 (December 1, 2019): 49–52. http://dx.doi.org/10.16922/sc.53.3.

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30

Mills, Marisa. "Brides and bridles. Rhiannon and the white horse during the Norman invasion of Wales." North American journal of Celtic studies 7, no. 2 (September 2023): 240–55. http://dx.doi.org/10.1353/cel.2023.a909949.

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ABSTRACT: Postcolonial scholars have observed how various aspects of the Four Branches of the Mabinogi reflect anxieties of the Norman Invasion of Wales. While these readings often center on examining the Norman influence as an outside threat, this article examines the First Branch of the Mabinogi as emphasizing the importance of wise leadership within Wales, specifically in terms of inter-Welsh interactions. I do this through the exploration of Rhiannon as a fairy mistress, a motif which proliferates the chivalric romance. While scholarship often interprets the fairy mistress as ‘other’ or ‘foreign’, I argue that Rhiannon presents an important departure. Rather than being explicitly a foreign entity, she is, instead, Welsh. Pwyll’s treatment of her, then, makes the First Branch a story about inter-Welsh relationships and cautions that tending to women’s needs and voices should be a priority to Welsh leaders, rather than something which is designated as a secondary concern.

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31

Welsh, Andrew. "Doubling and Incest in the Mabinogi." Speculum 65, no. 2 (April 1990): 344–62. http://dx.doi.org/10.2307/2864296.

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32

Freeman, Philip. "The Four Branches of the Mabinogi." Journal of English and Germanic Philology 118, no. 4 (October 1, 2019): 586–87. http://dx.doi.org/10.5406/jenglgermphil.118.4.0586.

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33

Meulder, Marcel. "Nisien et Efnisien: couple odinique ou dioscurique?" Nuntius Antiquus 1 (June 30, 2008): 141–58. http://dx.doi.org/10.17851/1983-3636.1..141-158.

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Neste estudo o par de irmãos da literatura épica céltica – Nisien e Efnisien presentes no Mabinogi de Branwen – é analisado em ampla extensão comparativa. Diversos elementos ou mitemas relacionados às narrativas que constituem a mitologia do poder real são comentados e colocados em paralelismo no âmbito das literaturas céltica, grega, romana, báltica, germânica, indiana e persa.

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34

Hemming, Jessica. "The Mabinogi: Legend and Landscape of Wales." Folklore 120, no. 2 (August 2009): 232–34. http://dx.doi.org/10.1080/00155870902969541.

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35

Sumner, Natasha. "Efnisien’s Trickster Wiles: Meanings, Motives, and Mental Illness in the Second Branch of the Mabinogi." Studia Celtica Posnaniensia 1, no. 1 (July 1, 2016): 73–89. http://dx.doi.org/10.1515/scp-2016-0005.

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Abstract This article examines the character of Efnisien in the Second Branch of the medieval Welsh collection of stories known as the Mabinogi. From the mid-nineteenth century until the present day, Efnisien has proved a troubling character for critical analysis. A preliminary examination shows that typologically, due to his antagonistic irrationality, he shares traits with both trickster and psychopathic figures. After highlighting these aspects of his characterisation, the article moves on to an analysis of Efnisien’s function in the text. It is observed that Efnisien’s irrationality is incongruous with the contingency and social relevance of the other characters’ actions. He is shown to be the erratic, motivational force within catastrophe, and as such, to personify the inexplicable nature of such life-altering events and lend meaning to uncertain circumstances. From a Žižekian analytic perspective, he functions as a repository figure of ideological excess enabling the rationalization of incomprehensible trauma and securing the fictive narrative in which meaning is produced. Efnisien – trickster, psychopath, figure of excess – is thus shown to be vital to the production of meaning in the Second Branch of the Mabinogi.

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36

Breeze, Andrew. "The Dates of the Four Branches of the Mabinogi." Studia Celtica Posnaniensia 3, no. 1 (January 1, 2018): 47–62. http://dx.doi.org/10.2478/scp-2018-0003.

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Abstract In a previous issue of this journal, Natasha Sumner of Harvard claimed of the Four Branches of the Mabinogi that the “exact date of composition for the text is not known”; she yet quoted Professor Catherine McKenna, also of Harvard, for the tales as certainly predating the Fall of Gwynedd in 1282. A response to Professor Sumner’s comment thus has three functions. It cites publications on the question from 1897 to 2018; reveals the scholarly disagreement therein; but concludes with evidence to put the tales in the 1120s or early 1130s.

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McKenna, Catherine. "Cyfarwydd as poet in the Fourth Branch of the Mabinogi." North American journal of Celtic studies 1, no. 2 (2017): 107–20. http://dx.doi.org/10.1353/cel.2017.a781247.

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Jacques, Michaela. "The four branches of the Mabinogi by Matthieu Boyd (review)." North American journal of Celtic studies 2, no. 2 (2018): 189–91. http://dx.doi.org/10.1353/cel.2018.a781217.

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Breeze, Andrew Charles. "The Four Branches of the Mabinogi: Gwynedd and the Glamorgan Bards." Traduction et Langues 16, no. 1 (August 31, 2017): 221–31. http://dx.doi.org/10.52919/translang.v16i1.634.

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Pedeir Keinc y Mabinogi or 'The Four Branches of the Mabinogi', surely the work of an author from Gwynedd or north-west Wales, are twelfth-century tales of love and adventure; and one character in them is Gwydion, a magician of Gwynedd. Amongst his exploits is disguising himself as a poet from Glamorgan (in South Wales) and thereby deceiving a Gwynedd sorceress, who is fooled into welcoming him as a story-teller and entertainer. In a similar way he had already tricked a prince of Dyfed (or south-west Wales). Although pure legend, the episodes have a semi-historical parallel in bards who unwittingly produced conflict between Deheubarth (southern Wales) and Glamorgan. According to the antiquary Rice Merrick (d. 1587), the feud was the result of royal passion, as at Troy. Its Helen was the wife of Iestyn (d. 1100?), Lord of Glamorgan; its Paris was Rhys (d. 1093), Prince of Deheubarth. Rhys became obsessed with Iestyn's wife after hearing poets describe her. Yet she was loyal to her husband as Helen was not to Menelaus. Disappointed in his lust, Rhys began threatening his neighbour. Hence an antagonism between Dyfed and Glamorgan that led to disaster for both. The 'Glamorgan bards' in these two narratives are the theme of this paper, with three main conclusions: (a) The sources are evidence neither for the eleventh century nor for the special excellence of verse in Glamorgan; (b) Glamorgan's representation in the Four Branches is consistent with authorship by a member of Gwynedd's ruling house who (through marriage) lived in Dyfed; (c) there is, in contrast, no link whatever between the tales and the Celtic monastery of Clynnog (in west Gwynedd), despite assertions by some.

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Gaylord, Alan T. "The Mabinogi. A Book of Essays Ed. by C.W. Sullivan III." Arthuriana 9, no. 2 (1999): 67–69. http://dx.doi.org/10.1353/art.1999.0068.

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Gruber, Edith. "The Origins of the 'Four Branches of the Mabinogi' by Andrew Breeze." Modern Language Review 105, no. 3 (2010): 830–31. http://dx.doi.org/10.1353/mlr.2010.0153.

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Song, Mi-Sun. "User Generated Storytelling based on Social Network in MMORPG - " World of Warcraft", "Mabinogi" -." Journal of the Korea Contents Association 9, no. 1 (January 28, 2009): 187–96. http://dx.doi.org/10.5392/jkca.2009.9.1.187.

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Siewers, Alfred K. "Writing an icon of the land: the Mabinogi as a mystagogy of landscape." Peritia 19 (January 2005): 193–228. http://dx.doi.org/10.1484/j.peri.3.576.

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Catherine McKenna. "Cyfarwydd as poet in the Fourth Branch of the Mabinogi." North American journal of Celtic studies 1, no. 2 (2017): 107. http://dx.doi.org/10.26818/nortamerceltstud.1.2.0107.

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Dalton. "Animating names. Eponyms, etymologies, and enchantments in the Fourth Branch of the Mabinogi." North American journal of Celtic studies 3, no. 2 (2019): 137. http://dx.doi.org/10.26818/nortamerceltstud.3.2.0137.

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MILLERSDAUGHTER, KATHERINE. "THE GEOPOLITICS OF INCEST: SEX, GENDER AND VIOLENCE IN THE FOURTH BRANCH OF THE MABINOGI." Exemplaria 14, no. 2 (October 2002): 271–316. http://dx.doi.org/10.1179/exm.2002.14.2.003.

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Gambino, Francesca. "Signore degli animali o guardiano di tori?" Zeitschrift für romanische Philologie 129, no. 3 (August 2013): 589–607. http://dx.doi.org/10.1515/zrp-2013-0063.

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AbstractL’un des personnages les plus mémorables du Chevalier au lion de Chrétien de Troyes est le paysan qu’on rencontre dans la forêt de Brocéliande, juste avant d’atteindre la source merveilleuse. Dans certains manuscrits il apparaît comme le gardien des taureaux, des ours et des léopards qui se battent devant lui. Des associations similaires d’animaux ne devaient pas surprendre les hommes du Moyen Âge, qui étaient familiers des histoires dans lesquelles coexistaient des animaux sauvages de différentes régions géographiques. Le passage correspondant du Mabinogi de Owein, texte gallois qui suit le même récit que le roman de Chrétien, énumère cerfs, lions, serpents, et «toutes sortes d’animaux». Il est donc probable que la source commune aux deux romans citait plusieurs bêtes sauvages. L’archétype de ces personnages est probablement le légendaire «seigneur des animaux», divinité qui dans les cultures des chasseurs de la préhistoire présidait à la reproduction et à la distribution du gibier et qui a subi plusieures métamorphoses dans les contes hagiographiques de différents saints et dans d’autres textes de la littérature française médiévale. L’association d’animaux disparates constitue donc un canevas narratif traditionnel et le passage de Chrétien de Troyes se réfère à ce substrat mythique.

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Cardwell, Samuel. "Welsh Princes in an Anglo-Norman World: A Historicist Reading of the Third Branch of the Mabinogi." Studia Celtica 56, no. 1 (December 1, 2022): 63–76. http://dx.doi.org/10.16922/sc.56.3.

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This article examines the internal historical evidence of the Third Branch of the Mabinogi. Through a close examination of the historical detail of Manawydan's sojourn as a craftsman in the cities of England, it becomes evident that the Third Branch reflects aristocratic social and economic anxieties in the decades following the Norman invasion of Wales. In light of an as-yet-unrecognized connection between the Third Branch and the twelfth-century royal biography Vita Griffini Filii Conani, this article suggests an early twelfth-century date for the former text.<br/> The Third Branch of the Mabinogi is generally seen as the 'simplest' – and arguably the most cohesive – of the Four Branches. It revolves around a single principal character in Manawydan fab Llŷr, who is never out of the frame throughout the tale. Its plot develops in a relatively linear fashion, moving steadily towards a 'happy and harmonious end'. The plot of the Third Branch may be summarized in terms of a three-part structure, as recognized by Glyn E. Jones:<br/> i. 'Manawydan fab Llŷr marries Rhiannon, Pryderi's mother' [and becomes the ruler of the kingdom of Dyfed].<br/> ii. 'Enchantment falls on Dyfed [leaving it entirely without people apart from Manawydan, Rhiannon, Pryderi and his wife Cigfa] and Manawydan and Pryderi spend a period in England. On their return to Dyfed, Pryderi and Rhiannon become entrapped in a magic fortress which vanishes'.<br/> iii. 'Manawydan succeeds in lifting the enchantment and freeing Pryderi and Rhiannon'.<br/> So far, so simple. Of course, the joy of the Third Branch is in the details: the stark image of Dyfed completely devoid of human and animal life; the psychological dimension of four characters having to deal with the emotional and practical consequences of this magical apocalypse; and the rather comic denouement, in which Manawydan stubbornly but cunningly negotiates with the villain of the piece (the sorcerer Llwyd fab Cil Coed) while holding the villain's wife hostage in the form of a mouse. Some of the most interesting details in the Third Branch come during Manawydan's period of poverty – during this time he and Pryderi (and later Cigfa), with their workforce suddenly having been taken away, are forced to make a living for themselves, first as hunters and scavengers in what is left of their home, then as craftsmen in the cities of Lloegyr, and finally as subsistence farmers back in Dyfed. 5 With these details we are torn from the mythic, heroic, otherworldly setting of much of the Four Branches and cast into the mundane realities of daily life. The Third Branch lends itself to a historicist reading, which reads these mundanities in the context of the early twelfth century, a time when Anglo-Norman culture and society was steadily encroaching on Welsh life. 6 This is especially evident in the representation of Manawydan and Cigfa's time spent as artisans in the cities of Lloegyr, which provides the clearest evidence for an Anglo-Norman context of composition for the Third Branch. This reading has potentially significant implications for the dating of the text, particularly in light of a possible and hitherto unrecognized connection between the Third Branch and the twelfth-century royal biography Vita Griffini Filii Conani.

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Pimenta, Leny André, Maria Regina Momesso, and Filomena Elaine Paiva Assolini. "To be or not to be nas malhas híbridas do suporte digital YouTube: práticas de leitura, linguagens e o sujeito." Acta Scientiarum. Language and Culture 38, no. 4 (November 22, 2016): 385. http://dx.doi.org/10.4025/actascilangcult.v38i4.26426.

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Neste artigo, observa-se e reflete-se sobre as práticas de leitura de um curta-metragem de animação da cena de Hamlet, To be or not to be, no suporte digital YouTube. Partimos da premissa de que mudanças relativas ao suporte podem promover alterações nos procedimentos de leitura e, consequentemente, produzir efeitos de sentido que reverberam na constituição dos sujeitos discursivos, especialmente no que se refere à autoria. A reflexão sustenta-se na Análise do Discurso de ‘linha’ francesa e na Psicanálise lacaniana, em que os postulados ocupam-se da determinação histórica dos processos de significação, ao considerar que os sentidos são construídos de forma singular, na relação com o outro e em seu ambiente, e, para isso, o sujeito tem que se apropriar do campo da linguagem. Com base nesses pressupostos, o corpus configura-se na narrativa virtual do curta-metragem de animação no site Mabinogi: Hamlet - To be, or not to be, Scene One, o qual faz um recorte da obra clássica literária Hamlet de Shakespeare. Os resultados apontam para gestos de leitura múltiplos, híbridos, em que os sentidos e as possibilidades de coautoria podem reverberar no trabalho do sujeito adolescente, que se constitui por meio da/na linguagem e do questionamento sobre si mesmo.

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Classen, Albrecht. "The Four Branches of the Mabinogi, ed. and trans. by Matthieu Boyd, with the modernization assistance of Stacie Lents. Peterborough, Ont.: Broadview Press, 2017, 119 pp., 5 b/w ill, 1 map." Mediaevistik 31, no. 1 (January 1, 2018): 401. http://dx.doi.org/10.3726/med012018_401.

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Welsh medievalists have long recognized the canonical quality of The Four Branches of the Mabinogi (late eleventh or early twelfth century), resulting in a long series of editions and translations. William Owen Pughe was the first to offer a modern English translation in 1795. The <?page nr="402"?>recent translation by Will Parker (2005) is available now online at: <ext-link ext-link-type="uri" xlink:href="http://www.mabinogi.net/translations.htm">http://www.mabinogi.net/translations.htm</ext-link>, and I suspect that many university teachers happily rely on this one because of its easy accessibility and clarity of the English version. Now, Matthieu Boyd, who teaches at Fairleigh Dickinson University (Florham Campus, Madison, MD), offers a new rendering, which is specifically targeting undergraduate students. This explains his strategy to modernize the medieval Welsh as much as possible, and to turn this marvelous text into an enjoyable read even for contemporary students, without moving too far away from the original. This modernization was carried out with the assistance of his colleague, the playwright Stacie Lents. This entails, for instance, that even some of the medieval names are adapted. Many times the conservative reader might feel uncomfortable when words and phrases such as “to shit,” “to egg on,” “to nip at the heels,” or “Manawydan & Co” (60–61) appear. The adaptation of personal names is not carried out systematically, but the overall impression of this translation is certainly positive, making the study of this masterpiece of medieval Welsh literature to a real pleasure.

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