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Cartoon Saloon, an Irish animation studio based in Co. Kilkenny, Ireland, explores themes of liminality, urbanization, and coming of age in its trio of Irish folklore-themed films. Secret of Kells, Song of the Sea, and Wolfwalkers each explore Irish identity, folklore, and community through different time periods and spaces to create truly Irish animated films. Each film explores the tension between folklore and Christianity, urban and rural community, and the challenges of coming of age in various ways through the lens of Irish folklore. By communicating these themes in animated films, Cartoon Saloon centers indigenous animation work in a country that has lacked an indigenous industry and uses the flexibility of animation as an art form to address Ireland's history and mythology through the writing, music score, and animation style of the three films. Cartoon Saloon stands at the forefront of a new revitalization of Irish culture reminiscent of the Gaelic and Celtic revivals of the nineteenth and twentieth centuries through their dedication to preserving and exploring Irish mythology, art, history, and language via an emergence of an indigenous Irish animation industry. / Master of Arts / Cartoon Saloon, an Irish animation studio based in Co. Kilkenny, Ireland, has released a trio of films centered on Irish folklore. These films explore Irish history, mythology, and tradition through several time periods and explore themes of liminality and coming of age. Secret of Kells, the first film, explores the Abbey of Kells and the creation of the Book of Kells through the eyes of Brandon, a young monk learning to find his place in the Abbey. He encounters a fairy girl and learns that there is more to his world than the Abbot had taught him. The second film, Song of the Sea, is set in modern times and tells the story of Ben's adventure to save his sister, who is half-selkie. The final film, Wolfwalkers, explores Kilkenny during English occupation through the adventures of Robyn, a young English girl who is turned into a wolfwalker and learns about the magic present in the Irish countryside. Each film explores the tension between folklore and Christianity, urban and rural community, and the challenges of coming of age in various ways through the lens of Irish folklore. Cartoon Saloon stands at the forefront of a new revitalization of Irish culture reminiscent of the Gaelic and Celtic revivals of the nineteenth and twentieth centuries through their dedication to preserving and exploring Irish mythology, art, history, and language via an emergence of an indigenous Irish animation industry.

In Thomas Hardy's Tess of the d'Urbervilles a relationship exists between the symbolical sacrifice of Tess at Stonehenge and her association with fertility, ritual, and mythic cycles of seasonal death and rebirth. Because Hardy associates Tess with fertility, reproductive power, and seasonal change, she personifies nature and closely resembles the earth mother goddess Demeter. Ritual is evident in her participation in the May-Day club revel, in her intended suicide under the mistletoe, and in her manner of killing Alec d1Urberville. Myth cycle culminates with a fertility ritual in the powerful sacrificial incident at Stonehenge, for, although Tess physically dies at Wintoncester, she symbolically dies at Stonehenge. Following her execution, the significance of her symbolic death at Stonehenge becomes apparent in her rebirth in 'Liza-Lu, In the Demeter-Persephone myth, two anthropomorphic entities, the mother and the maiden, enact the single phenomenon of organic nature--the principle of life seen in the seasonal growth of vegetation. Tess, then, as mother symbolizes the end of the old year's crops, while 'Liza-Lu as maiden signifies the fructification of Tess's seed in the burgeoning fertility of the new year. By being reborn in 'Liza-Lu, Tess thus completes the mythic pattern of seasonal changes.

Scéla Muicce Meicc Da Thó (SMMD; The Tale of Mac Da Thó's Pig) is a humorous Old Irish myth that takes its cues from its Ulster Cycle cousins, notably, An Táin Bó Cúailnge (The Cattle Raid of Cooley). The connective tissue is its cast, plot structure, and the author's mastery of cultural and storytelling traditions. SMMD is brief and rapid, which aids its near-absurdist representation of masculinity, kingship, and honor in heroic saga culture. This thesis uses postcolonial and medieval literary scholarship to analyze medieval and modern depictions of the Ulster Cycle. Contemporarily, the Irish Republicans and Loyalists evoke the image of Ulster boy-hero Cú Chulainn to express their sense of cultural ownership. Chapter One contextualizes the Ulster Cycle, SMMD, and its issue of hyper-masculinity to expand traditional scholarship and interpretation by analyzing how SMMD's humor operates culturally while demonstrating Bourdieu's social capital. This study also considers modern Ireland's murals, some of which draw on medieval themes and contribute to a global understanding of its colonial struggle. There is a spatial quality to these representations that reinforce border sensibilities à la intimidation via images of masculinity that resemble bragging contests in the Ulster Cycle. Chapter Two further interprets medievalism in modern Ireland using the onomastic dindshenchas toward a spatial reading of SMMD relative to public representations of Ulster's boy hero. Overall, this work calls attention to the ongoing issue of medievalism as propaganda. Ireland and the children of its diaspora maintain complicated relationships with its colonial history. Thus, this work's secondary goal is to provide a deeper context to this rather fragmented issue in a way that advocates for the nuance necessary when studying three postcolonial communities on one island.

This thesis takes a feminist and spatial approach to the analysis of ire'ne lara silva's collection of short stories flesh to bone, a continuation of the Anzaldúan body of thought. The thesis introduces two aspects–spiritual and spatial–to the wounds suffered by the Chicana collective Self which can be found within the characters and plotlines of lara silva's stories, and which had previously been outlined by Anzaldúa herself. This thesis also explains in depth the steps necessary to achieving the never-ending Coyolxauhqui Imperative, which is Anzaldúa's idea that to heal the collective Self, individuals must continue to create and tell the stories of our ancestors and ourselves as survivors instead of victims. Throughout this analysis, it is elucidated that lara silva has created herself a new theory to add to the Anzaldúan framework, called Tomiccama Tomiccanacayo, which translates from Nahuatl to mean: "We are protected by the hands and bodies of our ancestors". Thus, this thesis finds that, within flesh to bone, this new theory is asserted as a method of continuous healing and as an addendum to Anzaldúa's Coyolxauhqui Imperative. This study adds lara silva into the Anzaldúan academe and explains her words' significance to Chicana spatiality. My argument for the existence of lara silva's theory is important because of a continued necessity for collective female healing and the creation of art reaffirming the female Self to new generations of daughters becoming women.

This study examines the Cultural Trauma associated with the Jedwabne pogrom, as portrayed in three Polish newspapers. The essay seeks to answer the following questions: How did the chosen three Polish newspapers with varying ideological and political views depict the discussion about the Jedwabne pogrom in their articles in the years 2016-2018? In what ways do these usages and representations reflect or challenge the dominant narratives of Polish national mythology? How has the discussion on Polish antisemitism in relation to the Jedwabne pogrom changed after the conservative Law and Justice party came to power in 2015? The source material used consists of 45 newspaper pieces from Gazeta Wyborcza, Tygodnik Powszechny, and Polonia Christianapublished between 2016-2018. The theory applied was inspired by Barbara Törnquist-Plewa's studies which originate from the theory of Cultural Trauma and Collective Memory and Geneviève Zubrzycki's theory of National Mythology. The method used to analyze the source material could be best described as a qualitative close reading of the sources, where the theory of cultural trauma with its associated diagnosed coping strategies and the perspective of national mythology is used as an analytical lens to highlight how the Jedwabne pogrom discourse is being portrayed intertextually. The study's results found two camps with different stances on the topic concerning the Jedwabne pogrom and Polish antisemitism, namely, the pro-Gross/identity-transformative camp and the anti-Gross/Gross-skeptical camp. The presented two camps used two different strategies concerning the pogrom debate, namely, the politics of shame and the politics of pride, which suggested a laboriously political state of the discourse in the years 2016-2018. The resulting politicization of these two political strategies was explained by their link to cultural trauma responses used by the camps conforming to Törnquist-Plewa's results. The study found that the national myth of Polish messianism was used in the source material. However, it was predominantly used mindfully by the newspaper's authors in an attempt to combat this national myth, which was tied to a cultural trauma response and political usage. The study found that the debate on Polish antisemitism tied to the Jedwabne pogrom has regressed after the Law and Justice party came to power in 2015, as their political meddling with state institutions sabotaged the Polish scholarly debate and effectively polluted the public debate in various scandals

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