This article used as point of departure the Ngano song-story entitled The Greedy Hippo as developed by Christiaan van der Westhuizen and based on the Tambani embroidery project. This animated interpretation of The Greedy Hippo is used to further the aims of interdisciplinary research as stated by the original project by comparing its fantasy imagery with that of the Chinese film Crouching Tiger, Hidden Dragon by director Ang Lee. The analysis of the images in both works of art has been based on Jungian archetypes, with specific reference to the need for an esoteric and imaginative reading of fantasy in the chosen works of art. Reference was made to the dominant role of realism as style in Western art as opposed to the more esoteric, symbolic, and fantasy imagery of the art of other cultures, with emphasis on China. Chinese landscape painting and even poetry has been briefly contextualised with regards to the chosen works of art. Finally, the different characters of both works of art were analysed within the contexts of their symbolic meanings as based on Jungian archetypes, with particular reference to the scenes where the characters are depicted as flying through the air, which were explained within the contexts of Wu Xia martial arts style films.s

This article investigates the contribution by artist Jan van der Merwe to the project known as the “Creative creatures”. The project, initiated by Franci Greyling and Ian Marley, was based on the descriptions of a collection of fantastic creatures as relayed by Marley’s five year-old son, Joshua. Van der Merwe opted to design a special set of glasses for each of the creatures, and these works are discussed within the broader context of mirth in art. In order to explicate the term “mirth”, a brief art-historical survey is done with reference to key figures such as Bosch, Bruegel and others. The role of scary creatures in art is contextualised by comparing the work done by the stonemasons of the Gothic period with those of Van der Merwe done for the “Creative creatures” project. Throughout the article mirth as a personal function of art is discussed by interpreting the creative role of selected artists and their works. In conclusion it is suggested that the engagement with (scary) visual art should be enjoyed as a reciprocal event akin to a game – a game in which the mirthful characteristics of the work of art should be seen as a function to be savoured

1.This paper deals at two levels with the question of whether there is a separate component of the grammar that is specifically concerned with the structure of words. 1 At a more concrete level, the paper presents semantic evidence Sproat (1987:193), on the other hand, has rejected the contention of Mohanan's quoted above and, along with it, theories of the LPM type as well. He has argued that the principles of word syntax and word phonology do not differ from principles applying to other parts of the grammar. AndSproat has concluded that the lexicon does not exist as a separate word formation component. In Sproat's view the