This thesis examines the realisation of archetypes, symbols and mythic processes reflected in the musical discourse of selected 20ftt Century stage musicals with a hero theme, namely The Fantasticks, Camelot, Jesus Christ Superstar and Man of La Mancha. Of these, Camelot and Jesus Christ Superstar are mythically by far the more complex, so these will receive correspondingly far greater attention to background, immediately prior to their musical analyses. Insofar as the mythic language of symbols is heavily invested with description, the text reflects this investment. The purpose of this research has been to examine the way in which composers of the 1960s and '70s have revealed symbolic entities inherent in the dramatic plots of these musicals without necessarily being academically aware of deliberately revealing these entities. This being the case, the symbolic grammar and structural psychic elements evident in the musicals could be said to elicit a symbolically related compositional response conveyed in musical structures. Furthermore, the implications of the mythic choice of the hero theme itself and how this is conveyed both in the drama and in compositional choices are examined and discussed in an attempt to comprehend the Zeitgeist of the era, and how its representation In a popular musico-dramatic genre contributes to our insights into human and societal health. / Thesis (DMus)--University of Pretoria, 2010. / Music / unrestricted

This study examines Mologadi Ngwana’ Magolego Sepedi tale Mo_emane wa moimana as an example of fantasy. Fantasy as a genre creates a headache for theorists, because they struggle to distinguish this genre from other types of narratives. One theorist, Rottensteiner (1978:8), sees all narratives as fantasies. He admits that this creates a problem, since not all narratives are fiction. This problem is exacerbated by the fact that narratives broadly represent the thoughts of an author. If the definition of fantasy is too broad, everything that comes from the mind of an author can be seen as an imaginary text, in other words, a fantasy. Butler’s (2006) description of fantasy is narrower, explaining that the concept of fantasy is broader than other tales. This is because it is influenced by traditional fairy tales and by modern scientific fiction (Butler 2006:75). By contrast, Day (1984:277) suggests that in many cases, fantasy can be related to myth. This highlights how broad descriptions of the genre can be, and may lead to some confusion if fantasy is confused with other types of narratives which contain elements of myth. Furthermore, he sees the genre as important because it pushes the boundaries of the human imagination. According to Luckens (1995:27), fantasy often relies on magic and miracles. This argument is also problematic, considering that many fairy tales also contain magic and miracles. Sutherland (1991:247) makes the dubious claim that the actions of a fantasy can never be repeated and supports this claim with the argument that the actions may be truthful as they have a sequence. The argument of the theorists above indicates that they do not distinguish clearly between fantasy and other genres of narratives. This is the problem to be resolved in this study. This study directly investigated the plot of a fantasy, Mo_emane wa moimana, because it is important to demonstrate that the plot of a fantasy has specific elements (parts). These elements must be classified according to their importance. The elements found in the plot of a fantasy are the ones that justify the classification of this genre as this type of literature. To reach this justification, the study focused on three objectives. The first was to explain the plot of a fantasy, taking into consideration the content, the plot and the style. The second was to distinguish fantasy from other forms of folklore. The third was to call for the preservation of this kind of literature because there are so few in Sepedi. There was a need to conduct this investigation with an in-depth focus on a Sepedi tale to develop Sepedi folklore. Aside from the problem of the different views of literary theorists, another reason to conduct research on this topic is that thus far, investigations into such tales have failed to perform critical analysis. The research was therefore conducted by critically analysing one Sepedi fantasy (because of the magnitude of the investigation), while focusing on important distinctive features of the plot of that fantasy, Mo_emane wa moimana to demonstrate the power of miracles (and magic) in the plot and style of this tale. To resolve this problem of whether this story is a fantasy or a fairy tale, this study followed the following research methods: define, interpret and compare. The study also adopted narratology theory. This theory is directly linked to the plot of the text, and does not focus on the author. It is also important in helping to explain the distinction between these two types of narratives, because various types of narratives (including essays or short stories of various kinds) may wrongly be seen as fairy tales. The contents of a short story may show events that have never happened in reality, but are in a world of possibilities of such actions. Even though a fairy tale does not narrate the literal truth, it is literature, because this genre has all the characteristics of literature, namely content, a plot and style, as well as characters, a reader/listener and an author/narrator. The function of the reader/listener of a fairy tale is not to identify ‘mistakes’, but to enjoy the narration, and to realise the depth that the author/narrator has to create the tale. / Thesis (PhD)--University of Pretoria, 2019. / African Languages / PhD / Unrestricted

This diploma thesis deals with the exploration and comparison of symbol keys used for official maps of European countries. The theoretical part deals mainly with legends and cartographic symbols as a key element of the thesis. Then an assessment of available symbol systems and comparison of map symbols used in symbol systems for the official map of the Czech Republic is made. In the conclusion there is drawn proposal for symbol system applicable to maps of all European countries.

Representation of time in cartographic works on the example of maps of historical battles Abstract This study contains an in-depth analysis of possible graphical presentation of the fourth cartographic dimension (time) and utilizes the acquired findings in prototypical animated maps of historical battles. The initial chapter reflects cartography in general, later, the area of animated maps is in focus. The first part of the text is dedicated to the connection of cartography and time. Practical means of time representation are described. Further, a recommended general pattern is specified for design and development of time legend, so that time presentation suits the nature of the depicted theme. Consecutively, this general pattern is applied to a set of pieces of cartographical work depicting (historical) battles. The tangible result of this work is an interactive cartographic animation presenting the battle of Gettysburg and preceding events. Keywords: time, cartography, temporal legend, animated map, battle

A B S T R A C T ( E N G L I S H ) Classification and cataloguing of folk narrative has been one of the important topics of folklore comparative studies. The present thesis examines the topic from the theoretical and methodological point of view in its first part and from the appliqued point of view in its second part. The introduction of the theoretical part describes the genre of folk legend on the basis of textual (content, form, structure) and contextual (belief, function, distribution) criteria. Next chapter pursues an analysis of classificatory systems and catalogues of folk narrative of the whole world. The chapter is divided into two main groups according to typological or structural principles. We focus on the development of international folktale catalogue of Aarne-Thompson(-Uther) and its influence, especially when encountered with catalogues of Non-European narratives. We also deal with Czech and Slovak works in cataloguing and our main concern is cataloguing of European folk legends. The content of the following chapter is an overview and evaluation of sources selected as a material for our catalogue. The practical part of the work is a proposal and processing of typological catalogue of Czech belief legends, which is intended to serve as a tool for folklorists and scholars of relative...

As fandom studies are becoming more popular and important, one fandom yet remains largely unstudied: the fandom surrounding Disneyland. The Disneyland fandom is unique in a number of ways, chief among them the fans’ relationship to the content creators: unlike many other companies in similar positions, Disney seeks to put boundaries on fan participation and to discourage or stamp out behaviors it deems unacceptable. And yet, in spite of this official meddling, the fandom continues to thrive. I propose that the reason for this unique dynamic is the Disney “Magic”—that is, fans’ recognition of a unique emotional experience inherent in visiting the park, composed of a mix of nostalgia, immersion in the park experience, and the unique Disney atmosphere, all of which is often described using quasi-spiritual language. I posit that the Magic is what keeps fans coming back: they feel that something is special about the park, and seek to engage with it more deeply through various fan activities—activities which, paradoxically, seem to threaten that same Magic that inspires such dedication in the first place. In this thesis, I look at three specific fan activities, both to explore this concept of Magic further, and to learn more about this understudied fandom. The first topic is urban legends of ash scatterings in the Haunted Mansion ride, which appear to simultaneously be a commentary on harsh working conditions inside the park, and, more importantly, a perhaps-misguided attempt to pay respect to the deep connections fans have to Disneyland. The second is pin trading, which functions both as a folk activity guests can use to build their public identities, and also as a market for cheap fakes that tarnishe the Magic. The third is Disneybounding, a costuming activity that expresses fans’ love of the park, while carefully stepping around Disney’s regulations preventing such activities. Even in the diverse and fascinating array of fandoms, the Disneyland fandom deserves some additional attention. Disney Magic, and its resultant fan behavior, has no clear parallel elsewhere. Understanding what makes Disneyland fans tick will lead to a better understanding of how fandoms work in general.

This thesis explores the folk resurrection of the thylacine through artwork and symbolic interaction. The thylacine, better known as the Tasmanian tiger, is a marsupial that suffered a government-sanctioned massacre leading to its extinction in 1936. The thylacine’s status as a hidden animal has inspired what folklorists call “ostensive practice”; people not only actively seek out the thylacine in the wilderness of Tasmania today and share their sightings online, but they have also incorporated the thylacine as a symbol of hope and perseverance into various forms of folk art. There have been upwards of five thousand documented sightings of the thylacine since its extinction. This documentation can take the form of amateur or phone-recorded films, or sightings described in interviews for local news agencies. Some people have even found alleged biological remains of the thylacine and have described hearing its unique call. In addition to these types of legend-tripping activities, the thylacine is also represented in a variety of folk-art forms, including digital, painted, and hand-drawn artwork, written fiction, fiber arts, and costuming. This content is shared widely across the internet. Keeping the thylacine alive through the creation of folk art and legend-tripping search parties helps thylacine enthusiasts cope with the guilt for having lost an ecologically important animal due directly to ignorance and financial gain. If the thylacine is resurrected, whether literally or figuratively, people can symbolically undo some of the damage they have caused the natural world. Thus, the vernacular resurrection of the thylacine, understood through a folklorist lens, offers a model for comparing some of the vernacular ways that people are presently dealing with the general loss of wildlife due to climate change.

No singular study in history has exclusively focused on Bonnie Parker. She is usually grouped with her companion Clyde Barrow or among other female outlaws of the Great Depression. The historiography of Bonnie remains largely inaccurate with portrayals of her either as ringleader of the Barrow Gang or the passive girlfriend aiding her criminal man. While the truth lies somewhere between these two statements, no effort has been made to fully understand Bonnie alone without Clyde. The American news media of the 1930's gave Bonnie a very different public life than the one she lived privately. The media created the legend of Bonnie Parker, and by the time the famous 1967 movie was produced, the fictionalized Bonnie resembled nothing of the real Bonnie. Thus, Bonnie Parker lived a dual life: a private one remembered by her family members, and a public one portrayed in newspapers, films, and writings.

According to traditional accounts, following the premature deaths of Keats, Shelley, and Byron in the 1820s, literature in England fell into a sort of slumber until the late 1830s and early 1840s, when a new generation-a generation we now call the Victorians-came on the scene. Literary scholarship has tended to ignore this period of slumber as an uninteresting gap between the two dynamic movements of Romanticism and Victorianism. It was during this transitional period, however, that Leigh Hunt, one of the most radical of Romantic figures, wrote and staged A Legend of Florence (1840) in an attempt to stimulate a literary revival. Hunt's play reasserts the radical philosophies that defined his younger days, when as the central figure of the "Cockney School" he had drawn other radical writers such as Keats and Shelley into his circle. These philosophies included the primacy of literature, political radicalism, sexual liberation, and group authorship. By writing a play in 1840 that reasserted these ideals, Hunt hoped to gather a new coterie following reminiscent of the Cockney School. Responses to the play from Hunt's younger Victorian contemporaries, however, demonstrate how Hunt's once radical "Cockney" ideals had now become relatively safe. The nostalgic fondness with which A Legend of Florence was greeted therefore highlights how in 1840 Romanticism was in the process of being absorbed into Victorian philosophy and aesthetics.

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