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Mabinogi Rhiannon woman of power & her kindred; literary, political, thealogical, arts, & structural perspectives

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The study asks 'Who is Rhiannon?', building a portrait of her personage, through multiple perspectives across centuries. Rhiannon sources in the pioneering prose revolution Pedeir Cainc y Mabinogi, c. 1100. In this work of genius 'Mabinogi Rhiannon' develops from oral traditions through manuscripts, print format and 21stC electronics; gaining mythological, literary, and arts interpretations along with political implications. As a leading Mabinogi protagonist, Rhiannon functions as a substantial Mabinogi spine, or 'tour guide'.Three principles govern the study.1. It benefits from the 1970s/1980s paradigm shift, approaching the Mabinogi as predominantly coherent; an intricately layered literature. 'Trusting the text' is primary: commentary is ‘unfolding’, not reconstruction.Feminist perspectives, emergent in the same period, are routine.2.Multiple perspectives draw on broad, supplementary data, building not a monomyth but a mosaic of political, economic, psychological, literary, arts, mythological and structural approaches.3.The Mabinogi is regarded as invaluable Welsh heritage of international significance. Rhiannon as Welsh is respected by plentiful Welsh content: title, subtitles, key terms, and quotes.Rhiannon’s romance is deconstructed to an elite marchoges/ equestrian noblewoman of pragmatic ambitions. Her speech and acts analysis finds dominant assertiveness in her negessau /purposes, but also intense maternal vulnerability. Characteristically embedded in relationships (hybrid personal/political), Rhiannon is male oriented. Her ‘maternal dyad’ is found central to her narrative, and to Desolation aetiology.Rhiannon is presented as a Mabinogi Magician with three paradoxical hudiau/ enchantments. Rhiannon Duwies/ Goddess appears rich in thealogies: Horse-, Mother-, Sun-, Muse-, Initiation-Goddess; Descent cycle, bodhisattva, ambivalence and symbiosis.Structural analyses array a wealth of interlacings and triplicities. Modern adaptations inspire young women with Rhiannon's strength, reflecting my suggested interpretation of mabinogi as 'about the young'.Deconstruction done, Rhiannon remains romantic, a ‘strong woman’, a plausible divinity; above all a mediaeval Welsh noblewoman and a mother.
Swansea University
Title: Mabinogi Rhiannon woman of power & her kindred; literary, political, thealogical, arts, & structural perspectives
Description:
The study asks 'Who is Rhiannon?', building a portrait of her personage, through multiple perspectives across centuries.
Rhiannon sources in the pioneering prose revolution Pedeir Cainc y Mabinogi, c.
1100.
In this work of genius 'Mabinogi Rhiannon' develops from oral traditions through manuscripts, print format and 21stC electronics; gaining mythological, literary, and arts interpretations along with political implications.
As a leading Mabinogi protagonist, Rhiannon functions as a substantial Mabinogi spine, or 'tour guide'.
Three principles govern the study.
1.
It benefits from the 1970s/1980s paradigm shift, approaching the Mabinogi as predominantly coherent; an intricately layered literature.
'Trusting the text' is primary: commentary is ‘unfolding’, not reconstruction.
Feminist perspectives, emergent in the same period, are routine.
2.
Multiple perspectives draw on broad, supplementary data, building not a monomyth but a mosaic of political, economic, psychological, literary, arts, mythological and structural approaches.
3.
The Mabinogi is regarded as invaluable Welsh heritage of international significance.
Rhiannon as Welsh is respected by plentiful Welsh content: title, subtitles, key terms, and quotes.
Rhiannon’s romance is deconstructed to an elite marchoges/ equestrian noblewoman of pragmatic ambitions.
Her speech and acts analysis finds dominant assertiveness in her negessau /purposes, but also intense maternal vulnerability.
Characteristically embedded in relationships (hybrid personal/political), Rhiannon is male oriented.
Her ‘maternal dyad’ is found central to her narrative, and to Desolation aetiology.
Rhiannon is presented as a Mabinogi Magician with three paradoxical hudiau/ enchantments.
Rhiannon Duwies/ Goddess appears rich in thealogies: Horse-, Mother-, Sun-, Muse-, Initiation-Goddess; Descent cycle, bodhisattva, ambivalence and symbiosis.
Structural analyses array a wealth of interlacings and triplicities.
Modern adaptations inspire young women with Rhiannon's strength, reflecting my suggested interpretation of mabinogi as 'about the young'.
Deconstruction done, Rhiannon remains romantic, a ‘strong woman’, a plausible divinity; above all a mediaeval Welsh noblewoman and a mother.

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