Titlebook: Celtic Myth in Contemporary Children’s Fantasy; Idealization, Identi Dimitra Fimi Book 2017 The Editor(s) (if applicable) and The Author(s)

INCUR

Conclusion: Celticity and “Celtic” Heritageve adaptations of “Celtic” myth and evaluating their contribution to Celticism. These common themes and concerns revolve around perceptions of Celticity, especially the (re)definition of the “Celts,” “Celtic” history, and “Celtic” mythology; the “Celtic” past as national/cultural heritage; and stereotypes associated with the “Celtic” character.

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José Antonio López Abad,Daniel Meyerholtces of children’s literature (matters of power and ideology); the conventional and popular use of the term “Celtic” to refer to an ethnic past that is conceived as homogenous, and the recent debates on “Celticity”; and the problems of assigning mythological status to Irish and Welsh medieval literat

visual-cortex

IT Solutions for EPI Managementter cycles of medieval Irish literature. Pat O’Shea’s . (1985) and Kate Thompson’s . (2005) follow the tropes of “high” fantasy in constructing a secondary world. These respective worlds, however, are soon identified as “mythical” versions of Ireland itself, populated by its legendary gods and heroe

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Sustainable Sourcing and Procurementature American children of the Irish diaspora. In Tannen’s novels the children time-travel to mythical Ireland, relive the legends of the Fenian cycle, and inadvertently discover the close family bonds they share with this ancient and magical world. In ., the teenage protagonist also discovers that

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Hans Thies,Katarina Stanoevska-Slabevathenticity when adapting the wider Welsh tradition (from the . to the Welsh . and the legend of Taliesin) for a child readership. Alexander’s books take place in a secondary world, for which Wales is the blueprint, and the chapter discusses how they blend disparate ideas about the “Celtic” past with

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Environmental Performance Indicators chapter focuses on Cooper’s representation of the “Arthur of the Welsh” as a Romano-Celtic hero, and also explores ideas of British vs. Welsh vs. English identity in Cooper’s fantasy novels, and the way those are tied with the entwinement of landscape, folklore, and history.

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