By Joseph L. Sanders
This choice of 23 essays represents the simplest papers from the 13th foreign convention at the exceptional within the Arts. students representing varied views at the magnificent handle various works—including these via Jane Austen, J.R.R. Tolkien, Stephen Donaldson, Ursula Le Guin, Jean Baudrillard, Anatole France, William Blake, and Angela Carter. topics addressed diversity from kid's stories and vintage literature to paper sculptures and renowned tv sequence. Containing provocative functions of scholarly statement to sensible existence, this quantity might be of curiosity to students of technological know-how fiction, myth, horror, and pop culture, and to others who need to know which themes are presently trendy within the field.
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Extra resources for Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts
The Pinocchio ofC Collodi. Transl. and annot. James T. Teahan; illustr. Alexa Jaffurs. New York: Schocken, 1985. The Adventures of Pinocchio. Illustr. Fritz Kredel; transl. M. A. Murray. New York: Grosset & Dunlap, 1989. The Adventures of Pinocchio. Translated from the Italian by Carol Delia Chiesa; illustr. Attilio Mussino. New York: Macmillan, 1989. The Adventures of Pinocchio, Story of a Puppet. Translated with an introductory essay and notes by Nicolas J. Perella. Berkeley: University of California, 1991.
The Prospero of this island of tunnels is a sort of "first-among-equals," an older physician and compassionate pragmatist named Jacob Wells (perhaps an allusion to another creator of Utopian worlds, H. G. " Like many a learned humanist, however, Father scorns the idea of magic as irrational; even so, magic exists, somewhat apart from the Underground community, in the person of the blind prophetess Narcissa, who sometimes offers Vincent and others guidance that Father, for all his powers of reason, cannot ("Dark Spirit").
Eliot's) about consensus reality. This fantasy world is not distant in time but is necessarily contemporary with its audience. As such, it is more immediate to its viewers than the traditional, consciously oldfashioned, magic-castle worlds of Cocteau's great 1946 film La Belle et la Bete, with its Renaissance hallway lighted by human-arm candelabra, and of Disney's popular 1991 animated film Beauty and the Beast, with its eighteenth-century dancing dinnerware. Vincent, as the Beast, also differs from Cocteau's and Disney's Beasts in that he is not the traditional enchanted prince envisioned in the mid-eighteenth century, first by Gabrielle-Suzanne de Villeneuve and then by Jeanne-Marie Leprince de Beaumont.