Relevant bibliographies by topics / Carmen fantasy

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Carmen fantasy'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Carmen fantasy"

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Powrie, Phil. "Francesco Rosi’s Carmen and the fantasy of realism." Word & Image 9, no. 1 (January 1993): 19–28. http://dx.doi.org/10.1080/02666286.1993.10435855.

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Leicester, H. Marshall. "Discourse and the film text: Four readings of Carmen." Cambridge Opera Journal 6, no. 3 (November 1994): 245–82. http://dx.doi.org/10.1017/s0954586700004328.

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‘Quoi du reste’, to paraphrase Derrida on Hegel in Glas, ‘ici, maintenant, d'une Carmen?’ What's left of Carmen here and now? Aside from its intrinsic interest, the question seems worth asking in light of a bias that recent treatments of opera – particularly those influenced by poststrucuralist theory – seem to betray. The most prominent, Catherine Clément's Opera, or The Undoing of Women, Michel Poizat's The Angel's Cry and Jeremy Tambling's Opera, Ideology, and Film, regard opera as an institution rather than as a body of texts. Each of the authors, to my mind at least, allows a prior structure or structures – the systemic presence of male domination and its construction of women in society, a quasi-Lacanian understanding of unconscious fantasy, the bourgeois construction of operatic experience – to constrain what operas, and opera, can mean. They thus produce what are in effect reception studies or analyses of the audience, which is perhaps why they operate at some distance from the detail of the texts, musical or verbal, of the operas they analyse.
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Agic, Rukie, Zvezda Bogoevska, and Afrodita Ibusoska. "Comparison of Several Watermelon (Citrullus lanatus Thunb.) Hybrids in Republic of Macedonia." АГРОЗНАЊЕ 14, no. 3 (December 13, 2013): 335. http://dx.doi.org/10.7251/agren1303335a.

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Watermelon is a traditionally grown vegetable in the Republic of Macedonia. Numerous varieties and hybrids of watermelon are registered in the National Variety List. Prior to their introduction into commercial production, all foreign hybrids and newly created varieties are examined in order to determine their stages of growth, yield and characteristic of fruit. The experiment was set on experimental plots in the Institute of Agriculture in Skopje. In the years between 2005 and 2009, the following 21 varieties and hybrids of watermelon were observed: Romanza F1, Bambolino F1, Bonta F1, Scherezada in 2005; Pauline F1, Nelson F1, Joker F1, Carmen F1 in 2006; Lady F1, Trophy F1, Fletta F1, Marabella F1, Super Crimson Sweet OP, Fantasy F1 in 2007; Crimson Ruby F1, Biblos F1, Pegasus F1, Megan F1 in 2008; Colosseo F1, Caravan F1, Montana F1 in 2009. The Crimson Sweet was used as a standard variety. In 2005, Bambolino F1 gave higher yield (59.7t/ha) than the standard variety (31.42t/ha). In 2006, Nelson F1 exceeded significantly higher yield by giving 65,8 t/ha in comparison to standard variety 46.3 t/ha. In 2007 all examined varieties gave better results than the standard variety. In 2008 Crimson Ruby F1 gave higher yield (42.7 t/ha) than the standard variety (36.8t/ha). In 2009 Montana F1 was more yielded (67.5 t/ha) then the standard variety (62.2 t/ha). All examined varieties and hybrids gave stable characteristics and were registered in the National Variety List for commercial production.
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Ter-Mikaelian, Michael T., Stephen J. Colombo, and Jiaxin Chen. "Fact and fantasy about forest carbon." Forestry Chronicle 84, no. 2 (April 1, 2008): 166–71. http://dx.doi.org/10.5558/tfc84166-2.

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The Boreal Campaign initiated by environmental non-governmental organizations has resulted in a number of public statements about detrimental effects of harvesting on boreal forest carbon stocks. These statements are examined in the context of Ontario’s boreal forest. A review of scientific literature and the results of the authors’ original work on forest carbon demonstrate that these statements are based on either incomplete or inaccurate use of published scientific information. We conclude that forest management in Ontario, as governed by the Crown Forest Sustainability Act, increases total boreal forest carbon stock over the long term and that these conclusions are likely applicable to other jurisdictions where boreal forests are managed sustainably. Key words: boreal forest, carbon stocks, wood products, forest harvest
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MARK, PAUL D. "Sexual fantasy following midazolam." Emergency Medicine 3, no. 2 (August 26, 2009): 59–60. http://dx.doi.org/10.1111/j.1442-2026.1991.tb00020.x.

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Ōsawa, Eiji, Mitsuho Yoshida, and Mitsutaka Fujita. "Shape and Fantasy of Fullerenes." MRS Bulletin 19, no. 11 (November 1994): 33–36. http://dx.doi.org/10.1557/s0883769400048387.

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One of the many wonders that fullerenes have brought to us during the past few years is the variety of their shapes. When the elusive C60 finally showed up in 1990, the perfect symmetry and astounding beauty of its molecular structure touched the hearts of scientists before they could consider the molecule's vast technical possibilities. Already much has been said about the unique shape of C60 and its potentialities. C70 and higher fullerenes have simultaneously been found in the same soot that produced C60 and were quickly revealed to be shaped like rugby balls or oblong eggs. Hence we were aware that there had to be an extensive series of roundish polyhedral clusters of carbon atoms.Then, in the following year, multilayered tubular fullerenes (Figures 1a and 1b) were discovered by Iijima and were named buckytubes (see the article by Iijima in this issue). Iijima also observed similarly huge and multilayered carbon balls, before C60 was discovered. Soon after, buckyonions were recognized as an important class of fullerene (Figure 1c, see article by Ugarte in this issue). So, in the early days of fullerene research, we already knew three forms of fullerene: sphere, tube, and particle. At that time, however, nobody anticipated that this was only the beginning of a big show of stunning variations in the shapes of fullerenes. This article introduces current developments in the study of these fullerene styles.
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DAVIS, RICHARD. "A Nurse’s Fantasy." Home Healthcare Nurse: The Journal for the Home Care and Hospice Professional 22, no. 1 (January 2004): 64. http://dx.doi.org/10.1097/00004045-200401000-00018.

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Jenkins, Ruth. "the loss of the fantasy child." Home Healthcare Nurse: The Journal for the Home Care and Hospice Professional 14, no. 9 (September 1996): 691–95. http://dx.doi.org/10.1097/00004045-199609000-00004.

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Kuiken, Don, and Gregory Madison. "The Effects of Death Contemplation on Meaning and Purpose in Life." OMEGA - Journal of Death and Dying 18, no. 2 (March 1988): 103–12. http://dx.doi.org/10.2190/9477-0hje-2aec-8x1f.

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Affective involvement during reflection on personal mortality was expected to facilitate psychological change. Twenty participants engaged in an age progression fantasy during which they imagined themselves gradually aging and eventually dying. Then, one-half of the participants evaluated their fantasy experiences objectively and one-half attended to their feelings about their fantasies and attempted to find words or images that characterized their feelings. Compared to participants in the objective evaluation condition, participants in the affective involvement condition provided lower scores on the Purpose in Life Scale and on the rated meaningfulness of several specific activities. There were no differences in reported death anxiety. These results indicate that the immediate effect of affective involvement during death contemplation is a distressing disengagement from some previously meaningful pursuits. The role of this effect in long-term psychological change is discussed.
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Fife, Caroline E., Kristen A. Eckert, and Marissa J. Carter. "Publicly Reported Wound Healing Rates: The Fantasy and the Reality." Advances in Wound Care 7, no. 3 (March 2018): 77–94. http://dx.doi.org/10.1089/wound.2017.0743.

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Dissertations / Theses on the topic "Carmen fantasy"

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Vieira, Victor Mesquita. "A Carmen Fantasy para contrabaixo e piano: um estudo técnico e interpretativo." Universidade Federal da Paraí­ba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/6603.

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A Carmen Fantasy for Double Bass and Piano: a technical and interpretative study. A research realized about the work written by the American composer Frank Proto (1941). This work has as one of its approaches the stylistic contribution of François Rabbath (1931) granted in the piece. It contains an analysis of the form, harmonic and melodic structures of each movement, which are presented as the main focus of this paper, and also an exposition of the opera´s excerpts used into the Fantasy. This analysis shows the jazzistcs features that the composer uses in the piece. As an aid to practice preparation, I include indications of fingerings. The work also includes a brief biography of the composer Frank Proto, the bassist François Rabbath and a synopsis of the opera Carmen, where there is a description of the scenes from the opera used into this fantasy.
A Carmen Fantasy para contrabaixo e piano: um estudo técnico e interpretativo. Uma pesquisa realizada acerca da obra escrita pelo compositor norte americano Frank Proto (1941). Este trabalho tem como uma das suas abordagens a contribuição estilística que François Rabbath (1931) concedeu na obra. Contém uma análise da forma, estrutura harmônica e melódica em cada movimento, que são apresentadas como conteúdo principal deste trabalho e um esclarecimento dos trechos da ópera utilizados na Fantasia. A análise expõe as características jazzísticas que o compositor utiliza na obra. Como ajuda na preparação do estudo, estão incluídas sugestões de dedilhados. Esta dissertação inclui também uma breve biografia do compositor Frank Proto, do contrabaixista François Rabbath e uma sinopse da ópera Carmen, onde há a descrição das cenas da ópera utilizadas nesta fantasia.
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Lee, Hyung-Tag. "A Stylistic Comparison into The Carmen Fantasy for Double Bass: Proto, Sankey, and DaXun." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1468512050.

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Jones, David Kenneth. "The music of Jeffrey Lewis." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/the-music-of-jeffrey-lewis(b712684d-e7c0-4194-9932-e484dd60a2e0).html.

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The present thesis investigates the music and career of Jeffrey Lewis (born 1942). The thesis is broadly divided into three sections. First is an account of the composer’s life, told mainly through an overview of his works, but also through a sketch of his early years in South Wales, his studies in Cardiff, Darmstadt, Kraków and Paris, his academic career in Leeds and Bangor, and his subsequent early retirement from academia. There follows a more detailed study of six works from the period 1978 – 1985, during which certain features of Lewis’s musical language came to the fore, perhaps most notably a very individual and instantly recognisable use of modal language. After an Epilogue, the thesis concludes with an Appendix in the form of a Catalogue in which all Lewis’s known compositions are listed, together with details of performances, broadcasts and recordings. Lewis’s music often plays with our temporal expectations; the close interrelationship between texture, structure, harmony and melody, and its effect upon our perception of the passage of time, are explored in the main analyses. These are conducted partly by means of comparison with other works by Lewis or his contemporaries. Memoria is examined in relation to a similarly tranquil score, Naaotwá Lalá, by Giles Swayne. The following chapter discusses the extra-musical inspiration for Epitaph for Abelard and Heloise, whose relationship to Tableau is then explored in the next. The difficulties of creating a large-scale structure that unifies the work’s various harmonic elements are also investigated. The analysis of Carmen Paschale considers it in relation to Lewis’s other choral music, whilst the final analytical chapter compares and contrasts two three-movement works, the Piano Trio and the Fantasy for solo piano. Lewis’s melodic writing in the Piano Trio is discussed in relation to that of James MacMillan, and the origins of the first movement of Fantasy in Oliver Knussen’s Sonya’s Lullaby are explored. In the Epilogue, the possible reasons for Lewis’s current neglect are explored, various influences on Lewis’s musical thinking are laid out, and his achievements are assessed.
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LIU, KUAN-CHI, and 劉冠齊. "The Violin Virtuosity of Sarasate’s Carmen Fantasy." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/rcq88k.

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碩士
國立臺灣藝術大學
音樂學系
108
The Romantic Period virtuoso, Pablo de Sarasate, is one of the core figures in the performance violin virtuosity. He was praise as "the end of the 19th century’s Paganini " because of his inimitable performance style, sweet silver tone and good at playing the virtuosity pieces. Sarasate began the concert tours in his youth age and life experiences made his music more dramatic tension and show personal expression. Sarasate’s several virtuosity salon pieces are full of exquisite melody and virtuosity, which enriches the music idioms and being loved by many musicians and music lovers. This thesis explores the violin virtuosity of Sarasate’s Carmen Fantasy from the perspectives of the nineteenth-century violin virtuosity. Use 19th century's standard virtuosity works – Paganini 24 Caprices and Paganini violin concerto no.1, 3rd movement as an example, analyzing the technical virtuosity of violin, from the left hand to the right hand, and the combination of both hands’ technique. After exploring the music material with opera "Carmen", lyrics meaning, background and analysis music, one can figure out how Sarasate interpreted character with virtuosity and designed different virtuosity in melody. Hope when violinist interpret this piece, could have more theatrical affect and perfection of the performance.
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Lin, Li-Chi, and 林莉綺. "An Analysis and Interpretation of Carmen Fantasy on Themes from Bizet’s Carmen by Stuart Sankey." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/83794875411533682293.

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碩士
國立臺南藝術大學
音樂學系碩士班
102
Stuart Sankey (1927- 2000) is a performer, educator, and composer in the 20th century. Sankey played very important role in the development of double bass in America. He has direct and indirect influences on famous double bass musicians. Carmen Fantasy on Themes from Bizet’s Carmen is one of his great works. It was dedicated to his student Gary Karr (b. 1941) who is an American double bass virtuoso. The study of the thesis is divided into four parts. The first part is to discuss the art of Carmen from different and related aspects. The second part is about the introduction of Sankey and Karr’s musical life and background. The third part is the analysis of the association between music and opera, in-depth analysis of the application of the musical material, and the interpretation of musical style and technique. The fourth part shows the comparison of version between violinist Waxman and Sankey in order to explore and understand the differences between the two. To be able to perform the song musically and dramatically, it’s rendering technique can be a considerable challenge. I hope the research of this thesis could inspire double bass performer with new ideas, hence improving their overall quality of performance.
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Huang, Yu-Shen, and 黃郁盛. "An Analysis and Interpretation of Carmen Fantasy Brilliantby Jeno Hubay." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/c9j2f9.

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Chia, Yi Hsiung, and 熊家宜. "The transplanted erhu repertoire from the violin music - Sarasate's Carmen Fantasy." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/60266165662892328191.

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碩士
國立臺灣師範大學
民族音樂研究所
98
Because of the influence of Western culture and violin music, erhu has transformed from an accompanying instrument to a solo instrument. Over time, the main portion of the transplanted erhu repertoire has come from the violin works. For this reason, the thesis focuses on the violin-based repertoire for erhu and presents Sarasate’s Carmen Fantasy, arranged by George Kao, as the major example to demonstrate the phenomenon and means of transplantation. To begin with the development and history of transplanting violin pieces, the writer compares the differences between an erhu and a violin in the culture background, the history of development, the physic of both instruments, and the technique of performances. Moreover, the methods of transplantation are closely analyzed. To relate with personal experiences of performing the “Carmen Fantasy”, the writer covers both theoretical and empirical points of view. To summarize, the violin music had impacted the erhu world positively in several ways, such as enriching the musical language and challenging the performing technique. However, in the journey of modernization, all the erhuists should seek not only in technical perfection but also in fully understanding of their instrument for achieving the higher level of performing arts.
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Chang, Hsin-yu, and 張心瑜. "The Analysis and Comparison of “Carmen-Fantasy for Flute and Piano” and “La Traviata-Fantasy for Flute and Piano”." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/f2378g.

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碩士
國立臺中教育大學
音樂學系碩士班
102
Abstract In this thesis, we mainly focus on the two famous Fantasy for flute, "Carmen" and "La Traviata ". Both of the composers capture the appealing arias in the opera, and use the variation techniques to completely show the beauty of tone and the gorgeous techniques of flute. They finally composed their own Fantasy for flute which are different from the opera. Besides, to understand the development of Fantasy, we also analyze the researches about it. The thesis is divided into six chapters. In Chapter I, we will give an introduction to the motivation, purpose, method, scope of studies or literature, and describe the structure and direction of this thesis. In Chapter II, we will display the evolution of compositional style and characteristics of Fantasy for flute in different periods. Chapter III focuses on the architecture and the analysis of Carmen Fantasy for Flute. Chapter IV explains the song structure and the analysis of La Traviata flute Fantasy. We briefly introduce the two operas and two composers. Moreover, we also analyze and research the interpretation of these two Fantasy for flute. Chapter V analyzes these two Fantasy according to the opera materials and the piano interlude and the variation technique. Then, we further discuss how the composers adapted an opera for the gorgeous and charming flute Fantasy. Finally, Chapter VI summarizes the content of each chapter and the conclusions of thesis in the hope of making a contribution to the flute performance. Key word: La Traviata, Carmen, Fantasy
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Park, Sue-jean. "The concept of fantasie in two versions of the Carmen fantasie : Sarasate and Waxman." Thesis, 2006. http://hdl.handle.net/2152/2600.

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Liu, Ya-Wei, and 劉雅薇. "A Study and Interpretation of Frank Proto “Carmen Fantasy for Double Bass and Piano”." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/23446084964721542118.

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Books on the topic "Carmen fantasy"

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Borne, François. "Carmen" fantasy: On themes from Bizet's "Carmen" for flute and piano. New York: International Music Co., 1989.

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Emshwiller, Carol. Carmen dog. San Francisco: Mercury House, 1990.

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Emshwiller, Carol. Carmen dog. London: The Women's Press, 1988.

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Emshwiller, Carol. Carmen Dog. Northampton, MA: Peapod Classics, 2004.

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Sandler, Corey. The Ultimate Unofficial Carmen Sandiego Companion. New York: Bantam Books, 1991.

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Yepes, Nicolás Antonio Montes. Historia de un pueblo fantasma: Corregimiento El Salado, El Carmen de Bolívar. [Cartagena]: III Concurso de Historia Local, Departamento de Bolívar, 1997.

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Franchise, freedom or fantasy?: How to know if a franchise is right for you after your corporate career. New York: iUniverse, 2009.

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K, Morgan Richard. Altered carbon. New York: Del Rey, 2003.

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Tom, Badgett, ed. Official Sega Genesis and Game Gear strategies, 2ND Edition. Toronto: Bantam Books, 1991.

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Sandler, Corey. Official Sega Genesis and Game Gear strategies, 3RD Edition. New York: Bantam Books, 1992.

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Book chapters on the topic "Carmen fantasy"

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Tonkin, Maggie. "Whose Fantasy is the Femme?" In Angela Carter and Decadence, 136–53. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230393493_7.

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Eckhoff, von Julia. "Carmen, eine weiße Fantasie Alterität und Hegemonie in Otto Premingers Carmen Jones (1954)." In Carmen, 92–105. Köln: Böhlau Verlag, 2011. http://dx.doi.org/10.7788/boehlau.9783412213541.92.

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Gautreau, Justin. "Soundproofing Scandal." In The Last Word, 68–99. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190944551.003.0004.

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This chapter argues that hard-boiled detective fiction provided disillusioned screenwriters with a platform to project a fantasy version of themselves and preserve what was left of their ego under studio employment. Where the screenwriter felt emasculated, creatively stunted, and expendable, the hard-boiled detective was characteristically tough, autonomous, and invaluable in taking care of the studio’s dirty work. Meanwhile, in their aim to disrupt the promotional façade of Hollywood, these writers found inspiration not only in the political limits of the screen but also in the industry’s ongoing efforts to regulate Hollywood as a place. A.C. and Carmen Edington’s novel The Studio Murder Mystery and Raoul Whitfield’s Death in a Bowl therefore created a critical lens through which to view the “real” Hollywood in the era of the talkies. These novels treat Hollywood Boulevard and the Hollywood Bowl as extensions of soundstages where stars perform their studio-mandated morals clause for an unsuspecting public. It is only by realizing that movie “magic” is no longer exclusive to studio lots that the detective can solve the mystery.
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Hejduk, Julia Dyson. "Horace." In The God of Rome, 103–55. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190607739.003.0003.

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The analysis of Jupiter in Horace shows the importance of genre in assessing the poet’s “philosophy” or “theology.” Our possession of Horace’s works in their entirety lets us see the different faces Jupiter presents: satirist’s ally, desirable lover, cause and punisher of civil war, avatar of Fortune, parallel to Augustus, tribal god of Rome, and many more. The Satires show us a basic alliance between Jupiter and the satirist, both disgusted at human foibles. In the Epodes, Jupiter participates in the impotentia of a world gone awry, sometimes at the mercy of nature, sometimes the recipient of ineffectual prayers, sometimes a player in an impossible fantasy of escape, even though he created the conditions that allowed fratricide to flourish. Odes 1–3 make the god a key player in Horace’s journey from the poetics of war to those of peace, with all that implies about the ascendance of Augustus. The Epistles, the Carmen Saeculare, and Odes 4 represent a diminuendo in Jupiter’s importance as he becomes eclipsed by the new gods of the Augustan regime: Apollo and Augustus himself. In the Ars Poetica, Jupiter has all but disappeared. Perhaps the most comprehensive conclusion is essentially a negative one: Horace makes Jupiter neither a consistent locus for protest nor a consistent purveyor of “Augustan” values.
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Zieger, Susan. "“Dreaming True”: Playback, Immediacy, and “Du Maurierness”." In The Mediated Mind, 129–65. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279821.003.0005.

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Chapter four explores the phenomenon of “playback,” emerging into 1880s culture through the phonograph, as a wider fantasy of consumer and personal mastery. This fantasy was rooted in the longstanding idea of the mind as palimpsest and photograph, recording every single perception and experience. If true, then how could these stored memories be accessed? The cartoonist, novelist, and nonce media theorist George Du Maurier offered a literary answer in his widely cherished first novel, Peter Ibbetson (1891). The protagonist’s lover teaches him how to “dream true” or revisit his past experiences, while he is sleeping; through their clairvoyant connection, all their consumer experiences of music, food, art, and travel can be played back on demand. The conceit of disembodied playback changes the nature of human memory, converting it into information. The chapter traces Du Maurier’s fantasy of cataloging and filing experience to his career as a cartoonist for Punch. Because his cartoon aesthetic described the new breadth and immediacy of public feeling brought about by mass print media in the 1890s, it anticipates the affects that attend our own versions of playback.
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Berger, Harry. "Resisting Translation: Britomart in Book 3 of Spenser’s Faerie Queene." In Resisting Allegory, edited by David Lee Miller, 173–210. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823285631.003.0005.

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This chapter examines the manifestation of the “castration principle” in the legend of Britomart. Its power is explicitly invested not only in the allegorical and magical violence of antipoetic scapegoats—the witch, Proteus, and Busirane—but also in the apparently benign patrons of patriarchal order and continuity. Britomart's violent awakening to love, her induction into the heterosexual regime of the translatio imperii, is presided over by Merlin, an agent whose motives and career are shown to be dominated by gynephobia and the fantasy of castration.
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Reinsch, Paul N. "The Case for Calling George Lucas the “White Tyler Perry”." In From Madea to Media Mogul. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496807045.003.0010.

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Incomparing and contrasting Perry’s media influence with that of another famous director, Paul Reinsch concludes the collection by reframing the media discourse around Tyler Perry’s work and career to consider him alongside a comparable media mogul: George Lucas. What might the creator of Star Wars and the creator of Madea possibly have in common (aside from a possible penchant for high fantasy)? In closely analyzing the critical reception, aesthetics, and ideologies of Perry’s For Colored Girls(2010) and Lucas’s Red Tails(2012), Reinsch exposes how each filmmaker ultimately negotiates a particular nostalgia for Classical Hollywood Cinema while also maintaining a particular intrusiveness.
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Milbank, Alison. "Calvinist and Covenanter Gothic." In Scottish Gothic, 89–101. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474408196.003.0007.

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So the protagonist of James Robertson’s novel of nation-building and history, The Fanatic, declaims to his mirror in 1997, the year of the vote for devolution. Nationalism, then as now, provides a fantasy of a hope of unitary identity for Scotland, which will put to rest the warring dualities of its past. The irony of Robertson’s Daniel Carlin raging against duality lies in the words immediately following this extract: ‘I am talkin tae you, by the way’, to which his mirror responds, ‘I ken’ (2001: 25). Carlin may dream of an escape from the complexities of history, but the past forms a hole in the back of his mind through which the ‘Killing Times’ of the Covenanter Wars of the late seventeenth century invade the present-day Edinburgh world of ghost tours, tourists and dossers.
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Deighan, Samm. "A Murderer Among Us." In M, 15–32. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325772.003.0002.

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This chapter establishes the context for the climate in which Fritz Lang's M was produced, including its historical context within early 1930s Germany during the rise of Nazism. It explores M's connection to Lang's early work, during a period when he radically experimented with genres of romance, science fiction, fantasy and crime thrillers. It also discusses how M marks a turning point in Lang's career, when he began to fixate overwhelmingly on characters in the grip of social paranoia. The chapter talks about how Lang exclusively made crime films and thrillers with similar themes after M. It examines M's relationship to the German expressionist cinema of the 1910s and 1920s, particularly films that fit within the horror genre.
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Bullock, Paul. "Life Through a Lens." In Jurassic Park, 45–62. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781800348325.003.0003.

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This chapter looks at the role of cinematic fantasy and how it shapes the audience’s views of reality. First, it explores Steven Spielberg’s relationship with his audience. It explains that prior to Jurassic Park he had often spoken of his determination to please audiences and build films that drew them into the film world. It offers up examples and autobiographical detail to examine this claim and then details some of the key cinematic techniques he used to achieve it, the most notable of which is The Spielberg Face. As his career progressed, however, Spielberg grew frustrated by these techniques and by the time he was working on Jurassic Park, he was eager to alter his approach. The chapter concludes by investigating how the theme park location of Jurassic Park offered Spielberg the perfect opportunity to critique these techniques (and by extension both his career and cinema as a whole) and ultimately find a new way to explore his relationship with his audience.
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Conference papers on the topic "Carmen fantasy"

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Trianasari, Devi, and Edi Purwanta. "Developing a career information module to increase career fantasy of elementary school students." In Joint proceedings of the International Conference on Social Science and Character Educations (IcoSSCE 2018) and International Conference on Social Studies, Moral, and Character Education (ICSMC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icossce-icsmc-18.2019.5.

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Glukhenkaya, Lesya Nikolaevna. "Time of "fantasy" - the time-X. Career Guidance in American schools." In XII International Research-to-practice conference. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-113586.

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Radovic, Jagos, Renzo Silva, and Stephen Larter. "Reversing Flow of Carbon Back to the Geosphere. Scaled Organic Carbon Engineering – Feasible or Fantasy?" In Goldschmidt2020. Geochemical Society, 2020. http://dx.doi.org/10.46427/gold2020.2150.

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