Habilitationsschrift--Hamburg. / Bibliography: p. 171-182.

Revision of Thesis (Ph. D.)--University of Texas, 1989. / Includes bibliographical references (p. 323-339) and index.

This essay investigates the applicability of Joseph Campbell’s notion of the Hero’s Journey from his theoretical work The Hero with a Thousand Faces on J.R.R. Tolkien’s The Hobbit, or, There and Back Again. This has been done by outlining the essential aspects of Campbell’s theory and then performing a reading and analysis of Tolkien’s work. Furthermore, this essay focuses on the narrative structure proposed by Campbell, but also the heroic character’s development—in this instance, Bilbo Baggins’ development. As such, a brief examination of Campbell’s attitude and use of Freudian psychoanalysis has been performed as well as a presentation of Bilbo Baggins’ character and dual nature before the adventure. As a possible line of argument Tolkien’s knowledge of myth is also briefly expounded on. This essay does not research or make any definitive statements on the universal applicability of Campbell’s theory, but merely finds that Tolkien’s The Hobbit, or, There and Back Again appears to conform well to Campbell’s proposed narrative structure and that the development of Bilbo’s heroic character, or his character arc, is in concurrence with this as well.

Abstract This paper deals with the ideological aspects of the Irish epic saga Táin Bó Cúailnge´s first two recensions. The two versions, called Recension I and Recension II differ in some aspects and the purpose of this paper is to map out the differences, as well as the similarities. The analytic tool used is Bruce Lincoln’s myth theory that myth is ideology in narrative form. Using this tool I hope to give more understanding for the old Irish saga and also the people who wrote it and believed in it. The paper starts off with an introduction in research history in the field of myth and then continues explaining Lincoln’s theory and also takes up some of the criticisms against it. This is followed by a closer look at Táin Bó Cúailnge’s history, influences and its purpose. After this background the two different versions are presented with some notes on their origin, dating and authorship, and also short reviews of each version. To understand the ideological aspects of the two different recensions, the texts are first analyzed separately. This is followed by a comparative analysis, where the texts’ similarities and differences are examined. The paper is concluded in short at the end with conclusions drawn from the proceeding discussion and some last words from me, the author. Keywords: Táin Bó Cúailnge, Bruce Lincoln, ideology, mythology

DLitt (Ancient Studies)--University of Stellenbosch, 1987.

Criticism of J.K. Rowling’s Harry Potter series has maintained that its popularity stems from a well-marketed, repetitive and simple structure. However, this essay considers that this success derives from recognizable mythological heroic structures. The essay traces the protagonist’s development from the perspective of two different theories that contrast and complement each other in various ways, Otto Rank’s theory of the myth of the birth of the hero and Joseph Campbell’s theory of the monomyth. Campbell and Rank both hypothesize that hero myths are repetitive because they emerge from the subconscious of human kind. It can be seen in the tracing of the heroic development in Harry Potter that— although various aspects and features in the hero’s journey are followed in the narrative — the series does not strictly fit these theories. The result is a combination of different features from both theories, which modernizes the heroic myth that has pervaded human culture and history since time immemorial.

My artworks are informed by my experiences in the landscape at dusk. As the sun sets, the energy of the landscape shifts and a whole new world of the unseen arise. Through my artworks, I seek to encapsulate the emotions that the landscape evokes at this time. I explore my own desires of being immersed in the natural world, as well as my wonder and respect for its mysteries. Through darkness and light, my artworks investigate the unknown, or the idea of the unknown, beyond what the senses perceive.

The following with analyze Ovid’s Metamorphoses, a collection of myths, as it relates to mythology in ancient Rome. Through the centuries, the religious beliefs of the Romans have been distorted. By using the Metamorphoses, the intersection between religion and myth was explored to determine how mythology related to religion. To answer this question, I will look at Rome’s religious practices and traditions, how they differed from other religions and the role religion played in Roman culture, as well as the role society played in influencing Ovid’s narrative. During this exploration, it was revealed that there was no single truth in Roman religion, as citizens were able to believe and practice a number of traditions, even those that contradicted one another. Furthermore, the Metamorphoses illustrated three integral aspects of Roman religious beliefs: that the gods existed, required devotion, and actively intervened in mortal affairs.

There is consensus in academic circles that the directors Peter Brook and Ariane Mnouchkine have similar approaches to theatre practice and occupy the same position in the landscape of theatre production in France. Yet there have not been any in-depth studies that unpack the similarities and differences between the two practitioners. Considering their stature on the national French and international stages, such a gap of scholarship needed to be filled. By examining the specificities of their practices via the analysis of their two most emblematic productions, the Mahabharata and Les Atrides, this thesis hopes to provide an appraisal of their practices at a time when they are moving away from theatre. More specifically, this thesis looks at how the two directors transferred ancient archetypal and mythological narratives to the contemporary French stage. It considers how they used successful, parallel methodologies to adapt and render present an Ancient Sanskrit epic on the one hand (Brook), and Ancient Greek drama on the other (Mnouchkine). I uncover in their work the matrix for adaptation, located in the discourse of storytelling and in the post-Brechtian concept of estrangement, that I label ‘décalage’. Moreover, the thesis hopes to provide an appraisal of the supremacy of directors on the French stage in the nineteen eighties and advocates for the cultural necessity of theatre as an art form, at a time of crisis in France.

Technological growth has changed our relationships and interactions within society and theatre artists are calling into question the future of our art form. Are we still essential? And if so, how do we renovate our form in order to relate to our changing society? In my experience, I’ve found that all renovations of our art have one thing in common: the empowering nature of story. Story helps us to understand our experiences in life. It is not the self, the cause, or the goal that is behind the wheel, but the story itself. This thesis explores three instances of the empowering nature of story during my graduate studies.