Metafiction, Myth and Language: A World in Words (and Pictures)

 Following on from my earlier post , this was delivered earlier today (48 hour service!): NK Sandars - Prehistoric Art in Europe and after a lunchtime's worth of browsing, it has already pushed the visual side of this project in a whole new direction. Sanders' scholarship might be 60+ years old but it covers so much more than processes of dating and archaeological musings - the clue is in the title, and she addresses the ideas of these works as art in their own right as well, citing the likes of Gombrich on the way, as well as several detailed comparisons of prehistoric figuration to so-called 'civilised' Greek artistic forms. In terms of visual interest, a few beast/human hybrids caught my attention straight away: especially the 'sorceror' (beast-shaman?) figure at bottom right. This straightaway inspired a more 'primitive' rendering of this depiction of Hrefni, the raven storm-god: as this, re-imagined in a much earlier style: Herein the difference is

What's this all about? Basically, the documentation of my 2021 final project for my MFAAH Master's degree. “Myth is a type of speech” (R. Barthes, 'Myth Today' in Mythologies ). If my work has a narrative, then it is one of narrative itself – sometimes multiple narratives, sometimes competing, unreliable, questioning, contradictory, and ambiguous. At times, meta-narratives; stories within stories, inside re-tellings of tales perhaps familiar or else new. And one of my most cherished kinds of ambiguous narrative is myth. Myth, as an oral body of knowledge initially, is therefore speech. And in written form, embedded, it is capable of being analysed, quoted, paraphrased, interpreted, mis-interpreted, bastardized and corrupted. The language I use to disclose my myth-makings are related, though separate; at once distant and unknowable, yet simultaneously tangible and everyday: English, and its antecedent, Old English – in which copious amounts of our modern English (and Sco