Denna uppsats inspekterar visuella element från två filmklipp publicerade på Youtube-kanalen Epic Rap Battles of History, med syfte att undersöka hur en adaption av historiska personer gjorts för underhållningssyfte. Detta görs med grund i teorier om adaption av Linda Hutcheon och Jeremy Strong, samt med hjälp av Stuart Hall och Roland Barthes studier om representation och myter. Resultatet visar att tecken med starka konnotationer till vad som kan kallas den etablerade bilden av personerna används i form av kostym, bakgrund, och teknik/effekter, men att valen i form av uttryck frångår den etablerade bilden för att uppnå en satirisk bild som passar i den nya kontexten Rap Battle. / This essay investigates visual elements of two different videos published on the Youtube channel Epic Rap Battles of history, in an attempt to analyze how an adaptation of historical people has been attempted for entertainment purposes. This is done by the use of theories on adaptation by Linda Hutcheon and Jeremy Strong, as well as with the help of Stuart Hall and Roland Barthes studies in representations and myths. The results show that signs with strong connotations to what can be called the established images of the historical people are used in the way of costume, background, and technology/effects, but that the choices concerning expression deviate from the established image to achieve a satirical image that fits into the new context of Rap Battle.

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This essay explores setting, myth and magic in three of David Almond’s narratives for children: Skellig (2000), My Name is Mina (2010) and A Song for Ella Grey (2015). It looks at how magic influences and changes the way the characters view their local environment. This essay shows myth as a recurring theme in Almond’s narratives, the myths themselves as well as the mythological beings within the stories and how magic is brought to life in the North East setting, making the environment and everyday life extraordinary and magical.

Over the last forty years, nineteenth-century British art has undergone a process of recovery and reevaluation. For nineteenth-century women painters, significant reevaluation dates from the early 1980s. Concurrently, the growing field of interart studies demonstrates that developments in art history have significant repercussions for literary studies. However, interdisciplinary research in nineteenth-century painting and literature often focuses on the rich selection of works from the second half of the century. This study explores how transitions in English painting during the first half of the century influenced the work of British writers. The cultural authority of the writer was unstable during the early decades. The influence of realism and the social mobility of the painter led some authors to resist developments in English art by constructing the painter as a threat to social order or by feminizing the painter. For women writers, this strategy was valuable for it allowed them to displace perceptions about emotional or erotic aspects of artistic identity onto the painter. Connotations of youth, artistic high spirits, and unconventional morality are part of the literature of the nineteenth-century painter, but the history of English painting reveals that this image was a figure of difference upon which ideological issues of national identity, gender, and artistic hierarchy were constructed. Beginning with David Wilkie, and continuing with Margaret Carpenter, Richard Redgrave and Dante Gabriel Rossetti, I trace the emergence of social commitment and social realism in English painting. Considering art and artists from the early decades in relation to depictions of the painter in texts by Maria Edgeworth, Edward Bulwer Lytton, Mary Shelley, Joseph Le Fanu, Felicia Hemans, Lady Sydney Morgan, and William Makepeace Thackeray, reveals patterns of representation that marginalized British artists. However, writers such as Letitia Elizabeth Landon and Robert Browning supported contemporary painting and rejected literary myths of the painter. Articulating disparities between the lived experience of painters and their representation calls for modern literary critics to reassess how nineteenth-century writers wrote the painter, and why. Texts that portray the painter as a figure of myth elide gradations of hierarchy in British culture and the important differentiations that exist within the category of artist. / English

Camp scholarship remains vague. While academics don't shy away from writing about this form, most exemplify it more than define it. Some even refuse to define it altogether, arguing that any such attempt causes more problems than it solves. So, I ask the question, can we define camp via its structure, theme and character types? After all, we can do so for most other genres, such as the slasher film, the situation comedy or even the country song; therefore, if camp relies upon identifiable character types and proliferates the same theme repeatedly, then, it exists as a narrative system. In exploring this, I find that, as a narrative system, though, camp doesn't add to the dominant discursive system. Rather, it exists in opposition to it, for camp disseminates the theme that those outside of heteronormativity and acceptability triumph not in spite of but because of what makes them different, othered or marginalized. Camp takes many forms. So, to demonstrate its reliance upon a certain structure, stock character types and a specific theme, I look at the overlaps between seemingly disparate examples of this phenomenon. These include a documentary film (Grey Gardens), a one-woman show (Elaine Stritch: At Liberty), a pop concert (Cher: The Farewell Tour), a diva (Vanessa Williams), a horror film (Carrie), a biopic (Ed Wood), an episodic television procedural (Charlie Angels), and a serialized television dramedy (Desperate Housewives). Then, I take what I find in those chapters and apply it to a non-canonical camp text when I look at theatrical and novelistic depictions of a sport: baseball. This reading suggests that baseball can actually serve as a form of camp. Throughout, by employing structural analysis, queer theory and postmodernism, I uncover camp mythological potential. In addition to demonstrating something which no critic has done previously, namely, that we can, indeed, identify camp via structure, character and particularly theme, this investigation results in several other discoveries. For instance, it reveals that most academics incorrectly label or dismiss camp as a gay only discipline. As becomes evident here, its theme has built into it widespread appeal, as opposed to appeal solely the domain of gay males. Also, it demonstrates camp continued relevance and vitality. Some scholarship in the last two decades or so has proclaimed camp dead, dying or insignificant. By showing our continued need for this form, by using up to the minute examples and by illustrating that critics often wholly misunderstand and misidentify this phenomenon, this dissertation challenges those assertions head on. History demonstrates a longstanding tradition of and a continued need for people to camp. Yet, the scholarship surrounding this form limits, dismisses or misidentifies it, its audience, its relevance, its appeal, its history, its power, and so forth. By asking if we can identify a timeless and necessary theme, one illustrated via character and structure, and in finding that we can, I hope to lay these problems and misconceptions to rest once and for all. In the end, camp exists. And, it exists as a <italics>narrative system as a genre, if you will. Sometimes, genres exist cyclically, lying dormant for a period, only to reemerge, refreshed and once again popular, at a later time. (We've seen this in cinematic westerns or Broadway musicals, for example.) So, genres seemingly never die. This addition to scholarship on camp, then, demonstrates that the myth producing system investigated here has an identity, a purpose, a history, a relevance, a widespread audience, a great deal of both power and potential, and a likelihood that it will always exist. And, since, as I find, camp again and again offers the theme that others regularly find success due to their alterity (as opposed to in spite of it), these findings make sense, for the form serves its own function. / Mass Media and Communication

The Táin (Myth / Epic Fantasy, Feature) - In mythic iron-age Ireland, an exiled king allies with a proud queen to steal a magic bull and retake his former kingdom, but his semi-divine foster-son stands in their way. Based on the Irish Epic Táin Bó Cúailnge.

[pt] A presente tese apresenta uma investigação sobre a noção de responsabilidade individual conforme delineada nos mitos de pós-morte de Platão. Neste trabalho, a autora sustenta a hipótese de que os mitos platônicos continuaram a influenciar a discussão sobre responsabilidade individual em sua época, sublinhando a importância da agência do indivíduo em relação às suas ações e destinos. O objetivo central é compreender, com base nas análises dos diálogos Fédon, Górgias e República, de que maneira os mitos escatológicos platônicos contribuem para a consciência da responsabilidade individual. Nesta tese, esses mitos são vistos como uma espécie de ferramenta pedagógica destinada a incitar o cidadão a forjar uma relação responsável com a justiça e a ética. Eles não são apenas histórias, mas instrumentos retóricos cuidadosamente elaborados para influenciar a forma como o cidadão vive e interage em sua comunidade. Em suma, a partir de uma análise aprofundada da relação entre os mitos do pós-morte de Platão e a noção de responsabilidade individual na Grécia antiga, procurar-se-á mostrar que aqueles exerceram um impacto duradouro sobre esta última. As adaptações, releituras e recriações dos mitos tradicionais operadas por Platão não apenas enriqueceram o pensamento filosófico, mas também instigaram os cidadãos a refletirem sobre suas próprias ações e escolhas. / [en] This thesis presents an investigation into the notion of individual responsibility as outlined in Plato s postmortem myths. In this work, the author supports the hypothesis that Platonic myths continued to influence the discussion on individual responsibility in their time, underlining the importance of the individual s agency in relation to their actions and destinies. The central objective is to understand, based on the analyzes of the dialogues Fédon, Gorgias and Republic, how Platonic eschatological myths contribute to the awareness of individual responsibility. In this thesis, these myths are seen as a kind of pedagogical tool designed to encourage citizens to forge a responsible relationship with justice and ethics. They are not just stories, but rhetorical instruments carefully crafted to influence the way citizens live and interact in their community. In short, based on an in-depth analysis of the relationship between Plato s postmortem myths and the notion of individual responsibility in ancient Greece, we will seek to show that the former had a lasting impact on the latter. The adaptations, re-readings and recreations of traditional myths operated by Plato not only enriched philosophical thought, but also instigated citizens to reflect on their own actions and choices.

This thesis investigates the relationship between architecture, Romanticism, American Transcendentalism, myth, and religious mysticism in the ideas of the American architect, Louis Kahn. Part One builds a chronology from Hermeticism and Jewish mysticisms into German Romanticism and how they played a role in the world of Kahn's parents shortly before his birth. The first chapter looks at mysticism and how it resonates with Kahn's descriptions of silence and light. The second chapter outlines the transition from rational aesthetics during the German Enlightenment into German Romanticism. This exposes the beginning of organicism as a way of seeing the world as a growth from a mythic image towards a physical manifestation made by artists and poets. In chapter three, the ideas from Romanticism inspire a philosophical and political movement for independence and cultural expression in the native region of Kahn's parents. Part Two concentrates on the American approach to Romanticism via Transcendentalism and how Transcendentalism influenced Kahn's childhood education in Philadelphia. It shows how the ideas of German Romanticism influenced English literature and criticism, especially Coleridge's theories of organicism and literary criticism. Chapter four presents how the American Transcendentalists correlated the mind and imagination to an organism. In chapter five, we see how Transcendentalism's aesthetic theory influenced the Public Industrial Arts School of Philadelphia's approach to teaching art. Louis Kahn attended this school. The final chapter deciphers Kahn's ideas, such as â form and design,â â material as spent light,â â measurable and unmeasurable,â â law and rule,â â order,â and â nature.â Within the framework of Romanticism and American Transcendentalism, these ideas become intelligible and an enriching approach to understand his architecture. / Master of Science

It began with the question, "What if the Modern Man was successful in his dominion over nature?" By means of Architecture this thesis became a speculation and commentary on the human condition. But, more than that, this is a story that tells the evolution and outcome of a series of questions and inquiries into the relationship between Architecture, art and the mythopoetic-narrative realm. / Master of Architecture

No / Drawing on recent critical debates concerning the ontology of leadership, this article outlines a radical rethinking of the concept – not as the study of heroic individuals, skilled practitioners, collaborators or discursive actors – but as the marker of a fundamental and productive lack; a space of absent presence through which individual and collective desires for leadership are given expression. Where current critical debates tend to oscillate between variants of the physical and the social in their analyses, this article considers the potential for a negative ontology of leadership; one in which absence, ideological practices and the operation of empty signifiers form the basis for empirical investigation and critical reflection.