Rewriting previous texts or drawing on past and contemporary sources in order to assert both an identity as well as a discursive position illustrate the ironic process at work in Thomas King's Green Grass, Running Water and Michael Ondaatje's In the Skin of a Lion . The two authors resort to intertextuality as a pre/text to revisit the past that has disregarded, if not written off, other protagonists' perspectives (the Native's and the migrant's) in the making of history. By including references to Melville's Moby-Dick , among many other allusions to literary and filmic works, King presents the Native's self-assertion in the history, of the Americas from the colonizing mission onwards. The focus on Moby-Dick as a doubly significant intertext (because of its biblical and historical content) enables one to examine King's strategic use of irony to simultaneously disrupt the colonial discourse and insert the Native's voice. Sometimes close to Melville's critique on the American society and European colonial attitude, sometimes more eager to re-authorize the Native's standpoint, King achieves a displacement of irony that brings to the fore the Native's text, a text that has remained invisible to history and fiction albeit omnipresent. Ondaatje merges references to The Epic of Gilgamesh into his fiction within an historiographic approach, indebted to John Berger's G ., to articulate in words the building of Toronto from the migrants' position. His epigraphs from the Mesopotamian myth and Berger's G . announce the relationship between building and narrating as a way to make visible the migrant workers' stories and voices. Displacing the discourse from men-in-power to migrant workers, Ondaatje relates irony as inclusive of both the said and the unsaid to the migrants' invisibility in the Canadian society.

This thesis utilizes the theories of Carl Jung and Joseph Campbell to demonstrate that the participant in a myth undergoes vicariously a transformation of consciousness. I discuss and clarify the role of archetypes and symbols; the meaning and function of myth; and the three stages to the hero's journey; namely, departure, initiation, and return. I demonstrate how these stages, as well as the shadow, anima, animus, and self archetypes are active in four myths. These myths are The Epic of Gilgamesh, Bhagavad Gita, Owein, and Star Wars. I hope to have made contributions in three particular ways. The first is by clarifying Jung's concept of the collective unconscious and the archetype. I hope to have described them and demonstrated their usefulness to a step beyond what has been hitherto written. The second is the demonstration of the three-stage journey repeating itself at three different levels. Campbell does not refer to these multi-stage journeys in his analysis of the hero myth. The protagonist in mythic tales participates in a physical, then an intellectual, and finally a spiritual stage of transformation. Lastly, I explain how participation in myth can clear the mind of the participant and lead to greater awareness. Myths promote inner growth through the use of symbols. They clarify reality and guide one to become aware of reality. Specifically, the psychological method is demonstrated to be the most useful for clarifying the archetypal images found in myth. / Source: Dissertation Abstracts International, Volume: 51-09, Section: A, page: 3066. / Major Professor: David A. Darst. / Thesis (Ph.D.)--The Florida State University, 1990.

Thesis advisor: John B. Williamson / The desire to defy the aging process and to prolong the lifespan has long captured the human imagination. Recognized as one of the most ancient known pieces of literature, the Epic of Gilgamesh documents a King’s quest to find immortality. More recent examples include the story of Ponce de Leon’s 16th century search to discover the Fountain of Youth, Sir Francis Bacon’s (1659) assertion that humans are naturally immortal “potens non mori,” and Benjamin Franklin’s desire to be preserved in a vat of madeira until science is capable of life extension. Developments in science and technology, including telomere manipulation, genetic engineering, cloning, nanotechnology, the potential to create new organs from stem cells, and the creation of therapeutic pharmaceuticals that could significantly postpone disease, have served to inspire; aging in the 21st century is no longer regarded by scientists as an inevitable process programmed by evolution (Olshansky et al. 2006). Situated within a detailed historical overview, this qualitative research project explores the experiences of individuals engaged in practices currently implicated in potentially delaying aging and even extending life. Based on information from 44 in-depth interviews, this research explores issues such as lay understandings of the biology of aging, conceptualizations of the inner body, the use of and experience with optimization technologies, and the embodied effects of participation in anti-aging and life-extension body regimens. / Thesis (PhD) — Boston College, 2008. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Sociology.

This thesis analyzes the process of women&rsquo / s mythmaking in the plays written by female playwrights. Through writing the lives of female writers and rewriting the literary characters, which have been created by male writers, the women playwrights assume the role of a mythmaker. A mythmaker possesses the power to use the &lsquo / word,&rsquo / thereby possesses the power to control &lsquo / reality.&rsquo / However, for centuries, women have been debarred from generating their own myths, naming their own experiences, and controlling their own &lsquo / realities.&rsquo / Male mythmakers prescribed the roles women were required to perform within the society. Feminist archetypal theorists believe that through a close study of related patterns in women&rsquo / s writing, common grounds, and experiences, the archetypes shared by women will be disclosed. Unveiling these archetypes will eventually lead to the establishment of new myths around these archetypes. As myths are regarded as the source of collective experiences, analyzing how women have rewritten, revised, devised, and originated myths would thus permit women to reclaim the power to name, and hence to influence the so-called reality established by the patriarchy. Hence, this study analyzes the constantly developing process of women&rsquo / s mythmaking/mythbreaking in Liz Lochhead&rsquo / s Blood and Ice, Rose Leiman Goldemberg&rsquo / s Letters Home, Bilgesu Erenus&rsquo / Halide, Timberlake Wertenbaker&rsquo / s The Love of the Nightingale, Bryony Lavery&rsquo / s Ophelia, and Zeynep Avci&rsquo / s Gilgamesh. These playwrights try to depose the stereotypical images attributed to women by male mythmakers.

Numerous ancient epics and their heroes share certain characteristics. Lord Raglan and Joseph Campbell, among others, developed these characteristics into hero models. In their models, it is mentioned that many heroes undergo a katabasis or a figurative death and resurrection. The presence of a female guide in the hero’s descent into the Underworld has been largely neglected in Classical scholarship, despite the fact that the study of epic has been for some time a largely saturated field. It will be this aspect of the epic that I intend to examine. I will be examining a selection of female guides and will create a model consisting of their similarities loosely based on those models of Raglan and Campbell. I will be examining the role of female guides in various epics; namely, the Gilgamesh Epic (Siduri), the Odyssey (Circe), and the Aeneid (the Sibyl) and in a later chapter, those in the Argonautica (Medea) and the Pharsalia (Erichtho). In addition to these guides, I shall be examining one guide that does not come from epic, Ariadne. The female guides I shall be examining appear in two forms, either as a literal guide who descends with the hero into the Underworld, or as a figurative guide who provides assistance from a distance through advice or instruction. One of the reasons why I feel that this topic is of importance is the socio-historical context in which these texts were written, times and places when women played a largely inferior and subservient role to men. The fictional literary guides seem to be representing strong and independent women. I find this to be remarkable considering the times that these texts were written in. The analysis of these female guides will conclude with a compilation of the similarities they share that shall form the basis for my own female guide model. My model will be established in two consecutive steps: first the female guides Siduri, Circe and the Sibyl will be examined and a preliminary model established. In addition, I will try and prove a common ancestry for them. Secondly, I will test my preliminary model on Medea, Erichtho and Ariadne. As a result, I will propose a final model comprising all the female guides dealt with in my dissertation. This model will be my contribution to scholarship on epic literature from a Comparative approach. / Thesis (M.A.) - University of KwaZulu-Natal, Durban, 2009.

In 2009 we hold anniversaries for many composers, for example G.F.Händel, Henry Purcell, J.Haydn and Felix Mandelssohn-Bartholdy. In this abundance of celebrations we should not overlook the 50th anniversaryof Bohuslav Martinů´s death. Czech composer B. Martinů ( 1890 - 1959) was one of the most prolific composers of the 20th century. He was born and grew up in Polička . In 1923 he left his country of birth to study with Albert Roussel in Paris, where he lived for the next 17 years. In 1941 he emigrated to the States, fleeing the German invasion of France. He wrote for leading American orchestras in the following decade. He became homesick bud he never returned to his homeland. Martinů spent his later years in Switzerlandand and he died at age of 69 in Liestal. He wrote almost 400 pieces ( symphonies, operas, ballet and a large number of orchestral, chamber, vocal and vocal- instrumental works). His Epic of Gilgamesh, Field Mass, The Opening of the Wells, and his operas Julietta and The Greek Passion are highly regarded. His music displays a wide variety of influences ( expressionism, constructivism,hazz) and often reflects sensitivy to Czech folk music. Ot is characterized by the freedom of its melodies, the vigor of its rhythms, and the transparency of its textures. This diploma thesis deals of Martinů ´s little known one-act radio opera The Voice of the Forest ( Hlas Lesa). The libretto of the opera is written by the czech poet Vítězslav Nezval. This short experimental work was written specifically for radio performance in 1935. It called for a good articulation and different treatment of dramatic time than would be typical for a staged work. In contrast to the wildy extravagant libretto, the music is fine, lyric and tonal, expressing the characters ´emotions without irony, but with neverending optimism.

Submitted by Viviane Lima da Cunha (viviane@biblioteca.ufpb.br) on 2016-12-21T11:40:50Z No. of bitstreams: 1 arquivototal.pdf: 1555797 bytes, checksum: 063ae5f4dd1ed3591350e393890fa193 (MD5) / Made available in DSpace on 2016-12-21T11:40:50Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1555797 bytes, checksum: 063ae5f4dd1ed3591350e393890fa193 (MD5) Previous issue date: 2015-07-16 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / The origin of mythic narrative is recognized in all ancient traditions. During this period its relationship with the sacred was intrinsically present in everyday acts, without any distinction between the sacred and the profane because their activities were conditioned with divine in such a way that in the early stages the relation of the cultivation of plants and everything that came from the groud, the earth for the survival, was a depiction, a portrayal of Mother when she was related to fertilizing streghth. This way we find the Mother as a divine portrayal, the same way as there is also an identification of animals in such a way when they are food, nourishment. Their sacrifice indicated a sacral idea and that episode ocurred in a ritual, ceremony. Our main objective was to analise the mythic serpent in four semitic texts: the hymn to Ptah; The Gilgamesh epopee; The Elish enema and , The hebraic myth of creation. Therefore we historically contextualized the semitic traditions, especially the Egiptian, the Mesopotamia, (Sumerian, Babylon) and Israel. Consequently, we have also started a research on the mythic serpent on these traditions in evidence. The myths about the origin give us support to understand the serpent archetype, as we have seen that its symbolic representation indicates the polarities as well as a cyclical journey. To do só it was applied the yunguian analitic instrumentation when it develops the archetype concept, mainly in the title: “The archetypes and the collective unconsciousness.” Methodologically, it was used the comparative and symbolic hermeneutics of Mircea Eliade, mainly in its titles “The sacred and the profane” and “The myth of the eternal return”, as well as an effort to interlace the vision that leads, indicates according to Carlo Ginsburg in the interpretative understanding of critique hermeneutics, in other words, throughout the clues found in the texts. / Reconhecemos nas tradições antigas a origem das narrativas míticas. Neste período a relação com o sagrado estava intrinsecamente presente no cotidiano, não havia distinção entre o sagrado e o profano, pois suas atividades se condicionavam ao divino de tal modo que nos primórdios a relação da criação das plantas, tudo o que surgia da terra para a sobrevivência era representada pela Mãe quando a associavam ao poder fecundante. Deste modo encontramos a Mãe como representação divina, assim como também há uma identificação dos animais quando são reverenciados pela sua força e também quando são o alimento. O seu sacrifício indicava uma sacralidade e este episódio se dava ritualmente. Nosso objetivo foi analisar a serpente mítica em quatro textos semíticos: o hino a Ptah, a Epopeia de Gilgamesh, o Enuma Elish e o Mito hebraico da criação. Portanto contextualizamos historicamente as tradições semitas, especificamente o Egito, a Mesopotâmia (Suméria, Babilônia) e Israel. Por sequência pesquisamos a serpente mítica nestas tradições e por fim descobrimos o arquétipo da serpente nas tradições que destacamos. Os mitos de origem nos dão respaldo para compreensão arquetípica da serpente, pois vemos que a sua representação simbólica indica as polaridades assim como uma jornada cíclica. Para tanto aplicamos a instrumentação analítica junguiana quando desenvolve o conceito de arquétipo, principalmente na obra: “Os arquétipos e o inconsciente coletivo”. Metodologicamente utilizamos da hermenêutica simbólica e comparada de Mircea Eliade principalmente em suas obras: “O sagrado e o profano” e “O mito do eterno retorno” e buscamos entrelaçar a visão indiciária conforme Carlo Ginsburg com a intelecção interpretativa da hermenêutica crítica, ou seja, através das pistas interpretamos os textos.

Research Doctorate - Doctor of Philosophy (PhD) / This thesis examines a new kind of literary history developed in four postmodern historical romances: Michael Ondaatje’s In the Skin of a Lion and The English Patient, and Peter Carey’s Jack Maggs and True History of the Kelly Gang. By foregrounding their intertexts, these novels expose acts of violence and terror directed against scapegoats, particularly those constructed as criminals, who are perceived to threaten social stability. The novels of Ondaatje and Carey transform these criminals from social transgressors to heroes, from victimizers to victims. They first reconstruct and expose the social dynamics of specific historical contexts drawn from their precursor texts, The Epic of Gilgamesh, Herodotus’s Histories, Great Expectations and Lorna Doone, and then create a form of communal history, which for the first time voices the suppressed narratives of the disenfranchised. The theoretical framework used in the analysis of each text and its intertextual “double” is developed through analyses of desire and imitation in space as well as time. The thesis links René Girard’s theory of rivalry and violence in mimetic desire to Julia Kristeva’s and Susan Friedman’s theories of reading at the point of intersection between a text and its precursors, newly allowing the application of Girard to the complex intertextual dynamics of the sub-genre of metahistorical romance. This approach reconfigures this sub-genre as a form of simultaneous and paratactic history. It adapts Amy Elias’s and Brian McHale’s theories of spatial tropes as literary techniques which collapse, onto one plane, or juxtapose, different historical periods, characters and events, as a means to examine the ����dark areas” of history. In this process the thesis considers each modern text and its precursor to explore the role of Girard’s rivalrous doubles within and across texts in activating or interrupting cyclical violence. The historical scapegoats, given the opportunity to recognize and tell their histories in the modern texts, generate a new form of communal history, which challenges earlier depictions and celebrations of violence and the persecution of scapegoats. These new histories recoil from violence and reconstruct scapegoats through attention to the complex intersection of political and legal policies, cultural values and practices informing their previous historical representation. They allow Girard’s cycles of violence to be broken, reimagining the scapegoat not in terms of singular identifications as anarchist, spy, convict and outlaw, but as multi-faceted, able to be renewed in multiple identifications as heroic.

The question addressed by this study would be to ask where there is any semantic overlap in the way in which on the one hand child sacrifices functioned in the OT and on the other hand how muti rituals function in contemporary South Africa. Do these different rituals function similarly, or not? In answering this question, this study will first provide a literature overview of how muti murders are described in academic literature and show the complexities of trying to understand African religion and culture. This is achieved by looking at the concept of muti rituals, its meaning, targeted victims (who are usually women and children) and development in history, from sacrifice in war times to sacrifice for material gain. In this section works from cultural anthropology are used to help form a clearer picture of what muti rituals are and how they function within society. The study then moves to how the practice of child sacrifice is portrayed in texts such as Genesis 22:1-19 (the binding of Isaac) and Judges 11:29-40 (Jephthah’s vow). Although many scholars chose to separate the sacrifices of Genesis 22 and Judges 11, this study will show that they should be read together since they share the common theme of burnt-offering. In the comparison it will become clear that both Abraham and Jephthah are fathers of an only child; their child is the single most precious thing they possess. Moreover, both accounts are of an etiological nature. The fact that both narratives are in the canon should be seen as an indication of the important contribution that they make to the theme of sacrifice. In a more general chapter, the concepts of sacrifice and offering are outlined and are both acknowledged as a form of worship. This is followed by an overview of the different types of sacrifices as outlined in the Levitical literature and their different occurrences, focusing on the burnt-offering. Rituals are therefore understood as a communicating and clarifying social reality and establishing it. These patterns are understood with the use of a Mesopotamian inscription about “The death of Gilgamesh” which shows that warfare and killing were necessary to maintain and establish order, prosperity and peace. A comparison between muti rituals and child sacrifice yields more differences than similarities. One of the major similarities is that a blessing is bestowed on the offerer, be it success in business, victory in war or the acquisition of land. The motif of sacrificing one for the greater good seems to be at play. The main difference between muti rituals and child sacrifice is that in muti rituals, the sacrifice is dedicated to ancestors while in child sacrifice they are dedicated to Yahweh. In muti rituals, the victim does not need to be related to the offerer but in both these texts; the victim is the only child, a special possession of the father. / Dissertation (MTh)--University of Pretoria, 2018. / NRF-Freestanding / Old Testament Studies / MTh / Unrestricted

<p>The impact crater is the ubiquitous landform of the solar system. Theoretical mechanical analyses are applied to the modification stage of crater formation, both syngenetic (immediate or short term) and postgenetic (long term).</p> <p>The mechanical stability of an impact crater is analyzed via a quasi-static, axisymmetric slip line theory of plasticity. The yield model incorporated is Mohr-Coulomb and a simplified rectangular profile is used for the transient cavity. The degree of stability (or instability) is described as a function of internal friction angle, depth/diameter ratio, and a dimensionless parameter ρgH/c (ρ = density, g = acceleration of gravity, H = depth, and c = cohesion strength). To match the observed slumping of large lunar craters the cohesion strength of the lunar surface material must be low (&lt;20 bars) and the angle of internal friction must be less than 2°. It is not implausible that these failure strength characteristics are realized by freshly shocked rock. A theoretical description of impact crater collapse is evolved which accounts for the development of wall scallops, slump terraces, and flat floors. A preliminary set of scale model experiments performed in a centrifuge corroborate the theory. The strength of terrestrial planet surfaces under impact is seen to vary by as much as a factor of two.</p> <p>Shortly after the excavation of a large impact crater the transient cavity collapses, driven by gravity. It is shown that at least one concentric fault scarp forms about the crater, if the strength of the target material decreases sufficiently rapidly with increasing depth. This is demonstrated by two classes of models: extrusion flow models which assume a weak layer underlying a strong layer, and plastic flow models which assume a continuous decrease of cohesion strength with depth. Both classes predict that the ratio of the radius of the scarp to the transient crater radius is between 1.2 and 2 for large craters.</p> <p>Large impact basins on Ganymede and Callisto are characterized by one or more concentric rings or scarps. The number, spacing, and morphology of the rings is a function of the thickness and strength of the lithosphere, and crater diameter. When the lithosphere is thin and weak, the collapse is regulated by flow induced in the asthenosphere. The lithosphere fragments in a multiply concentric pattern (e.g., Valhalla, Asgard, Galilee Regio, and a newly discovered ring system on Callisto). The thickness and viscosity of a planetary lithosphere increases with time as the mantle cools. A thicker lithosphere leads to the formation of one (or very few) irregular normal faults concentric to the crater (e.g., Gilgamesh). A gravity wave or tsunami induced by impact into a liquid mantle would result in both concentric and radial extension features. Since these are not observed , this process cannot be responsible for the generation of the rings around the basins on Ganymede and Callisto. The appearance of Galilee Regio and portions of Valhalla is best explained by ring graben, and though the Valhalla system is older, the lithosphere was 1.5-2.0 times as thick at the time of formation. The present lithosphere thickness is too great to permit development of any rings.</p> <p>It has been proposed that a mascon may be in the form of an annulus surrounding the Caloris basin on Mercury, associated with the smooth plains. The effects (stresses, deformation, surface tectonic style, gravity anomalies, etc.) of such a ring load on a floating elastic lithosphere of variable thickness are investigated. The main characteristics of the surface tectonic pattern are normal faulting within the basin and thrust faulting beneath the ring load both in agreement with observation Moreover, the dominant concentric trend of the basin normal faults is consistent with the ring load hypothesis provided the mercurian lithosphere was ≤125 km thick at the time of faulting. Simple updoming within the basin would produce normal faults of predominantly radial orientation.</p>