<p> This production dissertation examines the role of the creative process in balancing intellect and intuition in the individual; and the potential of collaborative creativity to support the integration of intuition and intellect on a social level. The <i>mythos-sphere</i> is given as a metaphor to conceptualize the human experience, which extends from the physical, but always includes much more than one knows: inner and outer, conscious and unconscious, physical and imaginal altogether comprise this sphere of influence. </p><p> The mythic imagination aids social cohesion when there is sufficient shared experience. This research addresses a disconnect between inner experience and collective experience. This gap might be bridged by a social context that encourages awareness of our immersion in a mythic environment, built upon common ground. </p><p> The third is considered as the space between inner-outer and self-other, that allows negotiation without loss of self, and from which creative solutions emerge. A discussion of the third examines Winnicott&rsquo;s transitional space and Jung&rsquo;s archetypal theory. The space of the third is &ldquo;expanded&rdquo; by admitting the unknown and the ambiguous as real and meaningful, but &ldquo;collapsed&rdquo; by reductionist thinking. Participation, or being present and phenomenologically engaged, relaxes the tension wrought by protracted rational focus. Metaphor is proposed as the essential bridge that mediates the &ldquo;in-between&rdquo; area of the third. </p><p> Giving physical form to images emerging from the unconscious is considered as &ldquo;applied metaphor.&rdquo; Connecting inner with outer, known with unknown, and rational with non-rational, the creative process generates meaning for the individual. A collaborative creative process is therefore suggested as a way to develop shared meaning. </p><p> Concluding that creative collaboration encourages communication and group cohesion, a method is proposed. The production presents the application of this method via a three-day collaborative art-and-story making event, documented as an interactive digital magazine. </p><p> Keywords: expressive arts, collaboration, creativity, metaphor, participation, narrative, myth, imaginal, archetypal.</p><p>

Abstract not available.

This project undertakes the study of a collection of French-Canadian folk songs arising from the experience of the emigration of French-Canadians to the United States in the nineteenth and early twentieth centuries. The primary methodological tools employed in this study stem generally from the field of the history of religions, and specifically from the work of Charles H. Long. Religion here is understood as a mode of orientation that locates an individual or group meaningfully in the world in relation to ultimate reality. Religion can arise from situations of cultural contact and, therefore, is fundamentally important to issues of community and identity. As such, these songs articulate a mode of negotiating modernity that recognizes the homogenizing and silencing character of its discourse while simultaneously suggesting an understanding of human communities based on the recognition of the exchange of matter that served as the locus of the identity of Franco-Americans.

Dans la première partie de cette thèse, on trouvera le conte merveilleux La Prophétie des Ombres. Il tire certains thèmes et mythèmes de mythes et contes bretons et algonquiens. Sous leur propre influence, les figures mythiques ont échangé noms et caractéristiques. Laboratoire expérimental, La Prophétie des Ombres s'est transformé en un véritable mythe littéraire. La seconde partie offre une réflexion sur l'influence du mythe en littérature. Je me suis d'abord employée à définir le mythe, le conte et la légende. Puis, j'ai présenté l'histoire de la théorie du mythe littéraire et de la mythocritique. Dans un deuxième chapitre, j'ai analysé les théories de l'intertextualité afin de mieux comprendre comment la structure mythique est reprise dans le récit littéraire, et donc, dans mon processus d'écriture. J'y ai également défini le symbole. Enfin, le quatrième chapitre conclut l'étude en montrant comment je me suis appuyée sur ces théories pour construire une structure mythique et comment cela m'a permis de repenser mon travail d'écriture.

The main body of this work consists of a cross-section of Slovak sayings, songs, poems and folktales that have been translated from Slovak into English and made available to English-speaking readers for the first time. The pieces chosen for translation cover the long chronology of Slovak folklore--from ancient magical incantations and prognostications, through lyrical songs, proverbs and lengthier folktales, to the working-class and partisan songs and poems of twentieth century Slovakia. These materials have been drawn from collections of Melichercik and Dobsinsky. Although all aspects of life and nature are represented in the rich oral tradition of Slovakia, themes of love and marriage, health and successful agriculture are most prevalent, because of Slovakia's predominantly agrarian history and culture. Slovakia's political and social subjugation to other national groups, especially the Hungarians and the Turks, is another common theme in Slovak songs and poems, many of which appear in the present anthology. The translations are preceded by an introduction, which describes the historical, cultural and literary context of the works contained in the anthology. The special problems of translating mostly oral poetry and songs from regional or archaic Slovak into modern English defy easy solutions. The introductory section addresses the linguistic and poetic differences between the two languages, and explains how this translator has attempted to handle these differences. The introduction and footnotes draw attention as well to the more prominent aspects of the cultural gap between the traditions of rural Slovakia and those of America.

Supernatural women were important in Irish literature from earliest times to the present, but their literary portrayal altered with changing societal values and literary taste. Society shaped the roles of goddess, fairy mistress, and Sovereignty both in early Irish literature and in the Irish Literary Renaissance. The Morr(')igan, goddess of war and fertility, originally had a central role in the literature. She acted as an agent of fate, bringing order and prosperity in Cath Maige Tuired, and chaos and destruction in the Ulster cycle. During the Irish Renaissance she was relegated to a less central role. She remained the tutelary goddess of the hero CuChulainn, but lost her role as arbitrator of life and death, order and chaos, regaining it only partially in Yeats's The Death of Cuchulain. The fairy mistress was never influential in the mortal world. Her power was over the souls of men. She tempted the hero away to an Otherworld dangerous to the psyche, and to a socially unacceptable love. The fairy mistress was easily adopted by the Anglo-Irish writers because they, like the early Irish, came from a society with strict rules about the governing of emotions and the repression of asocial love. The fairy mistress's occult and psychological powers increased in the Irish Renaissance. The fairy maiden in Echtra Connla Cha(')im took Connla to the Otherworld in her crystal boat; Yeats's Fand could draw CuChulainn into a whole new phase of existence with a kiss. By her union with the king, the Sovereignty bestowed fertility, victory, and political stability on the people. Her power was destroyed in the colonial period, when there was no longer a kingship for her to bestow. Instead she took on the psychic powers of the fairy mistress, gaining power over the souls of the poets who adored her. Later, in the Irish Renaissance, she used these powers to lure, not poets to the Otherworld, but patriots to death. In the twentieth century Cathleen N(')i Houlihan the aspects of war goddess, fairy mistress, and Sovereignty were combined, but the destructive powers of the war goddess had become dominant.

No description available.

This dissertation centers on la danza Bugabita, a rural Panamanian dance-drama expression of los moros y cristianos. It documents, analyzes, and contextualizes the music, text, choreography, and history of the festival, bringing together various types of investigation in an attempt to unpack the complex, dynamic meanings intertwined in its performance. In order to facilitate a theoretical and methodological approach that accounts for the multifaceted avenues of inquiry undertaken in the investigation of this dance-drama, I apply Renée Jacqueline Alexander's concept of "prism." In her study, Alexander applies the trope of prism to the polyvalent Panamanian identity formation that allows for the "malleability, hybridity and fluidity within their plural identities." Her model can be applied to la danza Bugabita, as it is a protean tradition that is in flux and can also be described as hybrid and malleable, both historically and contemporarily. To view la danza Bugabita through a prism, each chapter is positioned to function as a distinct refraction of the transmedial dance-drama, marking a specific framework that has impacted the tradition as it currently exists. All chapters refract each other and the overall topic, individually bringing into focus different facets and angles that allow for interplay among its themes through time and space. This approach brings the past into the present and builds connections between the diversity of perspectives as they reveal the history and performance of la danza Bugabita. As such, there is necessarily a lot of movement of chronological timeframe, geographical place, and themes between the chapters. The movements and intersections of these concepts throughout this study are organized in such a way as to ease the tension between chronology and theme, and, in many ways, reflect the way in which I became familiar with the material. In observance of the trope of prism, each chapter has a sharply focused perspective with defined frameworks to address the questions and issues that it explores. The opening chapter establishes a historical precedent and foundation of los moros y cristianos and its study, further explaining the various contemporary critical theory frameworks and diverse methodologies used in each facet of the "Bugabita prism." The second chapter reframes the historiography of the "New World" and its use of this dance-drama, which confounds the distinction between center and periphery, as I contend that peripheral areas are not marginal to the stories that matter in the larger global projections of history. The third chapter presents an ethnographic exploration of the festival that weaves together various source materials to build an integrated narrative of the dialogue, music, and choreography that is attentive to long-term processes of change. The fourth chapter corrects a misconception that conflates the local version with the Chanson de Roland. I place it in a new literary framework by tracing its textual source, and then illuminating the cultural implications that arise from this literature chain that deal with emergent ideas of race, ethnicity, religion, and identity, and its dissemination and propagation throughout the Iberian colonies. The fifth chapter brings together themes from the preceding chapters in a case study of one particular piece of material culture, la pollera, in order to contribute to the understanding of the place of la danza Bugabita within its specific historical conjecture. I disentangle themes of gender, sexuality, and race found within the tension between representations of the body and the live body in performance to demonstrate how music, dancing, and performance bring prior constructions of race and gender roles into question. The final chapter synthesizes conclusions about the history and performance of los moros y cristianos and traces its trajectory from Spain to the municipality of Bugaba, Panamá. / A Dissertation submitted to the College of Music in partial fulfillment of the Doctor of Philosophy. / Spring Semester, 2015. / April 13, 2015. / dance-drama, La Danza Bugabita, Los Moros y Cristianos, Panamanian folklore / Includes bibliographical references. / Frank Gunderson, Professor Directing Dissertation; Michael Uzendoski, University Representative; Douglass Seaton, Committee Member; Charles E. Brewer, Committee Member; Denise Von Glahn, Committee Member.

The purpose of this paper is to trace some of the accepted characteristics of the devil to their origins through a study of folklore and ancient religions. The characteristics include the principal form taken by each devil and trace its beginnings through folklore; the animals connected with these devils; powers allotted to these devils; and purposes served by these devils.

No description available.