This study selects and arranges Navajo literature for an oral interpretation program. The presentation includes an introduction, a statement of purpose, an explanation of the limitations of the study, and the procedure used. There is a brief examination of the history of the Navajo Tribe. Also included is information for selection of material for the oral interpretation program and a discussion of the selection and arrangement of Navajo literature. A summary and conclusion are included, as well as an appendix which comprises the script of Navajo literature for the oral interpretation program. Through the oral interpretation program, this study conveys the beauty and poetry of the Navajo language.

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In this long form narrative poem, the speaker is led out into the wilderness and encounters panic in the form of the god Pan. Pan appears in Greek mythology as a raucous god of revelry at times and as moody and destructive in his anger and brutality at other times. This is how panic attacks find her. In writing this project I wanted a character I could tack the panic on, a character I could address, understand, and defeat. Instead what I found was myself, and wildness.

I discuss my Master of Fine Arts exhibition, Morphisms, hosted by Slocomb Galleries on the campus of East Tennessee State University March 22 through March 26, 2010. The exhibit includes works created during the artist's three year study at East Tennessee State University. The exhibition consists of works that address the projection of human qualities on domesticated animals and the projection of animal qualities onto mythological deities. Discussion also includes the process involved in creating the artwork as well as artistic influences in technical concepts.

Wrought from clay and hardened by fire, the narrative sculptures which comprise this body of work are dualistic symbols of life’s brutality and nobility. The philosophical import of the opus is manifested through the convergence of material, process, and form—to instantiate truth and initiate analysis. In my interdisciplinary research, I have come to understand leviathan as an exceptional, universalizing symbol of life's duality and the locus of Man's potential for honorable distinction. I invoke the name in order to instigate reflection upon the concept of the world serpent as a symbolic representation of existential nuance.

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Human beings will effectively deify any suitably complex system that cannot be explained through basic haptic interaction. Our culture loves technology. These days it seems we need it to feel whole. In an effort to explore the development of mythology and modular aesthetic in a technological age I have designed and constructed a number of interactive robotic 'organisms' to engage in arbitrary movement in geometric enclosures. Through observation and dialog I seek to assess the extent to which people assign human characteristics to the random and oft times aberrant mechanical behavior. To supplement this endeavor, a fictional astrological system that proposes logical (albeit mythological) explanations for the peculiarities in these relationships has been created.

This paper was planned with the object of covering the history and development of air transportation from its incep- tion to the present time. The mythology concerning aviation has been taken up at the beginning and this has been followed by a discussion of the earliest experiments in flying. The activities of the Wright Brothers began about 1900 and in 1909 they sold the Wright Flyer" to the United States Govern- ment. The development of pre-war and wartime airplanes is next taken up. The World War was significant in airplane history. During this period airplanes were improved tremendously, because of necessity. Following this period, development of aviation ceased for a short time, due to an over abundance of airplanes left over from the wartime production. After this, the manufacture and improvement of airplanes began in earnest. The most recent records of various types of airplanes under different conditions are given, to show the improvements made;

Since Antiquity, elements of Greek mythology and Hebraic history have intersected in many forms of literary and visual art. Renaissance philosophers, moved by skepticism, struggled to reconcile the historical and theological contradictions of these ancient sources, and scholars of European history Arthur Ferguson and Jean Seznec recognize resulting trends of mythological interpretation among authors of diverse disciplines. My research investigates ways in which London university professors John Taverner, John Case and an anonymous Oxford author utilized these interpretive methods in their music treatises of the early modern period and discusses the intersection of Protestant theology and Greek mythology in these authors’ defense of communal music. In 1611, Taverner claimed to follow St. Augustine’s example “to gather out of the writings of profane authors, that so taking the good and true from those unjust owners, we might reduce them to their proper and primary use.” Unlike some Protestants who waged literary war on the gods and goddesses of Greek mythology, Taverner and others employed “writings of profane authors” as an integral part of their rhetorical content, placing Apollo, Jupiter, and Mercury alongside Biblical figures as authoritative proof of music’s intrinsic virtue and appropriate usefulness. I contend that these authors sought to maintain Christian theological ideals while defending music’s rightful place in civil and ecclesiastical contexts by channeling their mythological sources through culturally acceptable lenses of historical and allegorical interpretation. A comparison of these treatises with histographies and mythographies circulating in early modern England reveals a hierarchy of source material achieved by filtering mythological references through subjective interpretative techniques. The investigation of literary authorities and rhetorical devices used in these treatises affords a deeper understanding of the complex relationship between ancient tradition and emerging rationalism and offers additional perspective on the philosophical discourse surrounding English Renaissance music.