By Audrey L. Becker, Kristin Noone
Reading how we interpret Welshness this day, this quantity brings jointly fourteen essays protecting an entire diversity of representations of Welsh mythology, folklore, and formality in pop culture. issues coated comprise the twentieth-century delusion fiction of Evangeline Walton, the Welsh presence within the motion pictures of Walt Disney, Welshness in people track, games, and postmodern literature. jointly, those interdisciplinary essays discover the ways in which Welsh motifs have proliferated during this age of cultural cross-pollination, spreading all over the world the myths of 1 small British kingdom.
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Additional info for Welsh Mythology and Folklore in Popular Culture: Essays on Adaptations in Literature, Film, Television and Digital Media
Sample text
Such radical reinterpretations of folklore and myth are quite popular, and for obvious reasons. Yet to alter the text so dramatically would change the trajectory of the story. Walton’s earlier words, to add only, “never alter,” anything in the Mabinogi, are evident in the novel’s adherence to the plot. This is a choice later advocated by Beer, who stresses the eternal present of a text. When written, the Second Branch was set in an ambiguous present. Branwen’s Shame (Thomas) 35 It is only considered past tense to us; thus it is not an object upon which we can impose our own present ideologies.
Gwydion had again put on the garments of a bard. The disguise that had served the hot ambitions of his youth would now serve the bitter, it might be life-long, quest of his manhood” (Island of the Mighty 655 –6). Gwydion has grown from youth to man; he uses his understanding of the world as a place of change and alteration not for ambition, but for the rescue of others. He does not seek vengeance or death, but shows his new wisdom in the punishment he chooses for Blodeuwedd, Llew’s wife and the cause of his death.
That much I think I understand” (Prince of Annwn 24). Pwyll, in this version of the tale, protects both the lives of his people from indiscriminate slaughter, and the idea of death as something meaningful and purposeful and aligned with human existence. In refusing to deal Havgan a second blow — a moment that seems to be a failure of compassion — Pwyll is in fact defending all of his world from Havgan’s viciousness. In this moment, Walton highlights the problems of compassion and empathy and offers readers an examination of those values, with the worlds of life and death at stake.
