The 1961 Hammer horror film, The Curse of the Werewolf, paired innovative make-up and set design with the avant-garde music of Benjamin Frankel (1906-1973). Frankel’s concert works had by this time embraced serialism, but The Curse of the Werewolf was his sole attempt at composing an almost entirely serial film score. This music more fully bridged the divide between the continental modernist practices found in his concert works with more conventional film music techniques. Thus, The Curse of the Werewolf’s score represents a crucial point in Frankel’s broader creative development as a composer who increasingly embraced twelve-tone methods in his concert works. Drawing from historical surveys, analytical scholarship, journal articles, and Frankel’s own writings, this thesis provides historical context surrounding Frankel’s life and involvement with the film. Most importantly, this study examines Frankel’s implementation of serialism in The Curse of the Werewolf’s score and its relation to the film’s visual and narrative components. I examine three pivotal scenes through traditional film music analysis combined with twelve-tone analysis. These analyses show how Frankel pairs motives with onscreen characters and situations while still embracing serial methods. This study sheds light on serialism’s application in film through the work of an overlooked British composer.

Trapped by a backwoods family of nature worshippers, an aimless young woman finds new purpose when she’s forced to birth an apocalyptic beast destined to destroy all enemies of mother nature.

anglicky: Title of the thesis: Myth and Literature: The Werewolf Keywords: myth, literature, mythology, mythodology, mythanalysis, mythocriticism, werewolf Abstract: This thesis deals with the relation between literature and myth. Literature transcribes the myth from a language of symbols to the language of literature. This process limits the multiplicity of meaning and the variety of renderings of a myth but at the same time makes it possible to preserve the elemental message and make it comprehensible for the socio-cultural reality of the author and subsequently for the reader. The objective of this thesis is to show on the example of the werewolf how a myth works in literature. After researching into the domain of mythology and mythocriticism, Gilbert Durand's method, called mythodology, was chosen as the principal route to approach the subject of this thesis. Mythodology comprises of two phases: mythanalysis and mythocriticism. The method is used for the study of the myth of the werewolf in four literary works from the different periods and of the different genres. In the final part are studied and analysed some socio-cultural consequences of the psychological nature of myth and its transcription into literature.

Cette thèse de doctorat met en oeuvre une analyse transverse au long cours des figures représentant le loup garou à travers les siècles. L’objet de cette enquête est multiple : trouver les fondements du mythe, voir dans quelle mesure il s’est transmis par le biais des élites, comprendre la valeur de la créature d’un point de vue sociologique. Pour résumer l’ensemble, il s’agit de voir comment, depuis l’Antiquité jusqu’à nos jours, ce mythe a traversé les époques, perdant ou gagnant des éléments d’identité mais se rechargeant toujours assez pour rester évocateur de la société qui l’entoure. Malgré la difficile prise en compte des sources très anciennes, celles de la mythologie par exemple – un travail de mise en perspective s’est construit autour de la perception, de la représentation du loup garou comme moyen de questionner l’homme et sa valeur au cours des différentes périodes historiques qui voient évoluer sa valeur de manière tantôt positive, tantôt négative. Ces changements s’expliquent par le poids des guerres, par celui des institutions, mais aussi par la pression, parfois terrible, de canis lupus sur le territoire français. Ce mythe, international et très populaire aujourd’hui, offre de nombreuses possibilités de questionner nos comportements, peurs et attentes, au travers de versions plus ou moins romantiques, plus ou moins réalistes, en fonction des médias choisis, comme nous le montrent les différentes œuvres étudiées depuis l’Antiquité jusqu’à nos jours. / This PhD thesis aims to put emphasis on a long course analysis of werewolves depictions through centuries. This investigation has several aspects : finding the werewolf myth foundations, seeing how it could have spread via elite society, understanding creature’s value on a sociologic way… This thesis involves seeing how, from Antiquity to now, the myth has traveled through times and centuries, gaining or losing identity elements, but always recharging itself in order to stay evocative of the society surrounding it. In spite of the difficulty in trusting very ancient sources, as mythology for example, serious standpoint creation has grown on perceptions, depictions of werewolf as a mean to question human being and his value through different historical periods specific to it, and where its value changes from positive to negative and inversely. Those changes can be explained by the weight of wars, institutions, but also by the pressure, sometimes terrible, of canis lupus on European and French territories. This myth of werewolf, international and very popular today, offers many ways of questioning our habits, fears, hopes through different versions, more or less romantic, more or less realistic depending on the chosen media, as we can notice in the different masterpieces from Antiquity until today.

No description available.

As seen from cultural history, shape-shifting is a very widespread literary motif, which suggests that it has high inspirational power and general appeal. Shape-shifting has not been critically examined in the detail it merits: it is mostly examined as a part of other theories. Examination of Freud‟s psychological theories and modern literature such as Dracula, Harry Potter and the Prisoner of Azkaban and The White Wolf of the Hartz Mountains shows strong connections between the power of this motif and repressed animal instincts – an animal within. This connection usually manifests symbolically rather than as an actual representation of an unearthing of repressed material. There are connections to religious beliefs and a wish to be more than human which raises questions about what is implied by changing into an animal – less than human – shape. The relation between shape-shifting and repression causes an uncanny atmosphere about the motif, something which is used extensively in The White Wolf of the Hartz Mountains and Dracula. There is also evidence suggesting the possibility that psychosis and neurosis might manifest as a sort of mental shape-shifting. In literature this can be seen in the were-wolf Lupin in Harry Potter and the Prisoner of Azkaban and the Berserkers of the Norse. Examination of the Boggart and Lupin of Harry Potter and the Prisoner of Azkaban and of the Norse berserkers show that the empowerment of shape-shifting mostly lies in control. All of this considered, and with the lack of critical examination in mind, shape-shifting seems severely underestimated and under-examined.

No description available.

O coronel e o lobisomem (The Colonel and the werewolf) recreates the world of rural activity in the countryside of Rio de Janeiro and presents a fictional account of the memoirs of Colonel Ponciano de Azeredo Furtado. Organized into thirteen chapters, the theme of the second novel by José Cândido de Carvalho is the decline of the rural way of life against the increase in urbanization. Within the same subject there are other works such as Angústia (Anguish) by Graciliano Ramos, O Amanuense Belmiro (The amanuensis Belmiro) by Cyro dos Anjos; Coivara da Memória (Kindling for the Memory) by Francisco J. C. Dantas; and Banguê (Bier) by José Lins do Rego. Those writers knew how to combine form and content to discuss a social and historical vision of Brazil within a rigorous formulation of language. And they present a decadent narrator that has death hanging around and is roaming between the rural world - in which he or his family were large landowners - and the urban world - fraught with bureaucrats and marked by degradation. This analysis will defend that the subject of decay pervades the whole work of José Cândido de Carvalho, but reaches its pinnacle in O coronel e o lobisomem (The Colonel and the werewolf) and thus characterizes the plot of José Cândido de Carvalho as plots of decadence. Ergo, the main aim of this paper is to analyze the novel in order to discuss the driving forces that propel its topic. In an attempt to reveal the ways in which the author determines this subject, we will address the roles played within the narrative, in the first place, the reason for the death; then the persistent duel between the countryside and the city, which in turn represents the tradition and the renewal; and finally, the cultural, popular and fantastic elements that pervade the text. And besides that, we will try to insert the romance into the literary scenario and reveal what were the main contributions left by O coronel e o lobisomem (The Colonel and the werewolf) in Brazilian fiction. / O coronel e o lobisomem recria o mundo da atividade rural no interior do Rio de Janeiro e apresenta um relato ficcional das memórias do coronel Ponciano de Azeredo Furtado. Organizado em treze capítulos, o mote do segundo romance de José Cândido de Carvalho é o declínio do modo de vida rural diante da urbanização crescente. Temática da qual também são tributárias obras como Angústia, de Graciliano Ramos; O Amanuense Belmiro, de Cyro dos Anjos; Coivara da Memória, de Francisco J. C. Dantas; e Banguê, de José Lins do Rego. Os escritores dessa tradição souberam conjugar forma e conteúdo para discutir uma visão social e histórica do Brasil, porém dentro de uma rigorosa formulação de linguagem. E apresentam um narrador decadente, rondado pela morte e deslocado entre o mundo rural em que ele ou sua família eram grandes proprietários de terras e o mundo urbano repleto de burocratas e marcado pela degradação. Esta análise defenderá que a temática da decadência perpassa toda a obra de José Cândido de Carvalho, mas atinge seu ponto culminante em O coronel e o lobisomem e, dessa forma, caracteriza a poética carvalhiana como uma poética da decadência. Assim, o objetivo principal deste trabalho é analisar o romance para discutir as forças-motrizes que impulsionam sua temática. Na tentativa de revelar as maneiras como o autor fixa este tema, trataremos dos papéis que assumem, dentro da narrativa, em primeiro lugar, o motivo da morte; depois, o insistente duelo entre o campo e a cidade, que não deixam de representar a tradição e a renovação; e por fim, os elementos culturais, populares e fantásticos que permeiam o texto. Além disso, procuraremos inserir o romance dentro do cenário literário e expor quais foram as principais contribuições deixadas por O coronel e o lobisomem na ficção brasileira.

Au cours des dix siècles que compte le Moyen Âge, l’Occident chrétien est définitivement devenu une civilisation de l’écrit, ce dont témoignent par exemple la production de magnifiques manuscrits enluminés tout au long de cette période. Des manuscrits insulaires du début du IXe siècle aux livres de chasse du XIVe siècle, en passant par les fascinants Bestiaires du Moyen Âge central, cette florissante culture de l’écrit a ménagé une place de choix à l’animalité, aux animaux sauvages et au loup en particulier. Consacré comme parangon du sauvage au moment où l’Europe chrétienne consacrait le culte du livre, le loup et à travers lui l’idée du sauvage ont nourri de riches systèmes de représentations au sein des sources écrites. Avec dans son sillage toute une myriade de figures « lupines », le loup fonctionne ainsi comme un catalyseur à la fois de l’idée du sauvage au Moyen Âge et des enjeux liés à l’essor des traditions écrites. Des Etymologiae d’Isidore de Séville aux Tragiques d’Agrippa d’Aubigné, cette étude vise à mieux comprendre les relations unissant le loup et le sauvage à l’histoire du livre, de la littérature et de la transmission des savoirs. À partir des représentations du loup et des visions médiévales du sauvage, une écriture du sauvage s’est en effet développée au Moyen Âge, voire une poétique inspirée du sauvage mais dont la pertinence demande à être interrogée au prisme de cette révolution dans l’histoire de l’écriture que fut l’invention de l’imprimerie. À une période qui a en partie renié l’imaginaire médiéval et connu tant de bouleversements culturels, pareille écriture pouvait-elle perdurer dans l’empreinte du loup, emblème d’un sauvage « médiéval » ? À la Renaissance, ne s’est-elle pas affranchie des visions médiévales du sauvage pour rencontrer un « nouveau sauvage » aux Amériques ? Des livres alchimiques aux récits viatiques, des poèmes eddiques aux recueils de proverbes, de la littérature hagiographique aux contes de loups-garous, le loup nous entraîne ainsi dans une littérature foisonnante qui interroge la nature de l’homme et son identité multiple, prise dans un jeu incessant de mouvements et de métamorphoses, jusqu’à épouser les arabesques de l’esthétique baroque. / In the course of middle ages, the Christian Western Europe became forever a civilization based on literacy, as we can see through the output of such amazing illuminated manuscripts during these ten centuries. From insular manuscripts from the early Ninth century and books of hunting from the Fourteenth to Bestiaries from Twelfth and Thirteenth’s, such a flourishing literature gave animals, wild animals and particularly the wolf, an important position. While the Christian Europe started to consider books as essential and holy, wolves and wildness inspired at the same time numeral extensive representations as we can see them in writings. Related to so many wolfy figures, the wolf seems to be a catalyst of both ideas of wildness and questions about the growth of literacy. From Isidore of Seville's Etymologiae to The Tragics by Agrippa d’Aubigné, this work aims to a better understanding of relationships between wolf and wildness and the history of literature, books and knowledge passing down. From wolf and wildness medieval representations, a writing way for and by wildness emerge in medieval literature. But such a writing way seems to be problematic after the revolutionary invention of printing press. While Renaissance repudiated medieval heritages and suffered a lot of upheavals, such a writing way could not continue. Instead of following wolves’ tracks, which then symbolized something like a “medieval wildness” authors began to write differently about wildness after the end of the middle ages: after the discovering of a new wilderness in America, they tried to create new visions liberated from medieval memories. From alchemic books to travel stories, from proverbs to eddic poems, from hagiographic literature to werewolves’ tales, wolves take us to an abundant literature which helps readers to wonder about human nature and its much identity, in a system of mowing and metamorphoses, like so many Baroque arabesques.

Since before recorded history, werewolves have captivated human imagination. Simultaneously, they represent our deepest fears as well as our desire to connect with our primal ancestry. Today, werewolves are portrayed negatively, associated with violence, cruelty, cannibalism, and general malevolence. However, in ages past, legends depicted them not as monsters, but as a range of neutral to benevolent individuals, such as traveling companions, guardians, and knights. The robust legacy of the werewolf spans from prehistory, through ancient Greece and Rome, to the Middle Ages, into the Early Modern period, and finally into present-day popular culture. Over the ages, the view of the werewolf has become distorted. Media treatment of werewolves is associated with inferior writing, lacking in thought, depth, and meaning. Werewolves as characters or creatures are now generally seen as single-minded and one-dimensional, and they want nothing more than to kill, devour, and possibly violate humans. Hollywood depictions have resulted in the destruction of the true meanings behind werewolf legends that fascinated and terrified humans for so many ages. If these negative trends were reversed, perhaps entertainment might not only discover again some of the true meanings behind the werewolf myth, but also take the first steps toward reversing negative portrayals of wolves themselves, which humans have, for eons, wrongfully stigmatized and portrayed as evil, resulting in wolves receiving crueler treatment than virtually any other animal. To revive the many questions posed by lycanthropy, entertainment must show respect to the rich history of the legend — and rediscover the benevolent werewolf. / Master of Arts / Since before recorded history, werewolves have captivated human imagination. Simultaneously, they represent our deepest fears as well as our desire to connect with our primal ancestry. Today, werewolves are portrayed negatively, associated with violence, cruelty, cannibalism, and general malevolence. However, in ages past, legends depicted them not as monsters, but as a range of neutral to benevolent individuals, such as traveling companions, guardians, and knights. The robust legacy of the werewolf spans from prehistory, through ancient Greece and Rome, to the Middle Ages, into the Early Modern period, and finally into present-day popular culture. Over the ages, the view of the werewolf has become distorted. Media treatment of werewolves is associated with inferior writing, lacking in thought, depth, and meaning. Werewolves as characters or creatures are now generally seen as single-minded and one-dimensional, and they want nothing more than to kill, devour, and possibly violate humans. Hollywood depictions have resulted in the destruction of the true meanings behind werewolf legends that fascinated and terrified humans for so many ages. If these negative trends were reversed, perhaps entertainment might not only discover again some of the true meanings behind the werewolf myth, but also take the first steps toward reversing negative portrayals of wolves themselves, which humans have, for eons, wrongfully stigmatized and portrayed as evil, resulting in wolves receiving crueler treatment than virtually any other animal. To revive the many questions posed by lycanthropy, entertainment must show respect to the rich history of the legend – and rediscover the benevolent werewolf.