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Books on the topic 'Carmen fantasy'

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

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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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7

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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8

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

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9

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

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10

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

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11

Carmen Fantasy for Two Pianos. Awkward Fermata Press, 2011.

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12

Sarasate, Pablo. Carmen Fantasy, Op. 25, Kalmus Edition. Alfred Publishing Company, 1985.

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13

Sarasate, Pablo de. Carmen Fantasy for Violin and Orchestra in Full Score. Dover Publications, 2006.

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14

Zigeunerweisen Carmen Fantasy Introduction Tarantella With Separate Violin Part. Dover Publications, 2012.

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15

Don, Sakers, ed. Carmen Miranda's ghost is haunting space station three. New York, N.Y: Baen Books, 1990.

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16

Meadows, Daisy. Carmen the cheerleading fairy. Scholastic Inc., 2017.

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17

Carmen Fantasy and Other Concert Favorites for Violin and Piano: With Separate Violin Part. Dover Publications, 1997.

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18

Fantasy on Themes From Bizet's Carmen (For Two Pianos, Eight Hands, American Piano Quartet Series Piano II). Neil A. Kjos Music Company, 1994.

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19

Meadows, Daisy. Carmen The Cheerleading Fairy (Turtleback School & Library Binding Edition) (Rainbow Magic Special Edition). Turtleback Books, 2017.

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20

Francois, Borne. Fantasie Brillante on Themes from Bizet's Carmen. Schirmer Books, 1986.

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21

Carbon Grey Omnibus Collection. Image Comics, 2016.

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22

Evans, Khari, Hoang Nguyen, and Kinsun Loh. Art of Carbon Grey. Image Comics, 2012.

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23

Tina, Deininger. Carmens Dance mini: A Fantasy Of Spanish Flamenco And Opera (Ear Books Mini). edel CLASSICS GmbH, 2005.

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24

Hunsberger, Donald. Carmen Fantasia: 2 Solo Trumpets With Piano & Percussion (Donald Hunsberger Wind Library). Alfred Publishing Company, 2004.

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25

Carbon Grey Vol. 3: Mothers of the Revolution. Image Comics, 2014.

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26

Carbon Grey. Image Comics, 2011.

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27

Carbon Grey Volume 2: Daughters of Stone. Image Comics, 2013.

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28

Altered Carbon. New York: Random House Publishing Group, 2003.

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29

Bullock, Paul. Jurassic Park. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781800348325.001.0001.

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‘Constellations: Jurassic Park’ explores how Steven Spielberg used the film to investigate several key themes that have been important to him across his career. These themes are: nature and humankind’s relationship with it, the importance of cinematic fantasy and how it shapes our view of the world, and the impact of toxic masculinity on both men and women. The book also looks at how Spielberg blends genres across his career as a whole and Jurassic Park specifically. This is particularly true of the science fiction and horror genres, which are used in Jurassic Park to create a film that is both cathartically scary and thematically satisfying. These points are contextualised within the wider scope of Spielberg’s life and career to understand how Jurassic Park acted as bridging point between the light entertainments he had been known for up to that point (Close Encounters of the Third Kind and E.T. the Extra-Terrestrial, for example) and the more serious filmmaking he focused on after its release (Saving Private Ryan and Lincoln).
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30

Ross, Stephen J. The Delta of Living into Everything. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198798385.003.0002.

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This chapter examines key junctures in Ashbery’s career when he literalizes the stream-of-consciousness metaphor. For Ashbery, forms of liquid motion—waving, undulation, flux, flow, streaming—fuse into poetic matter and manner in a series of increasingly self-reflexive experiments over many decades. From the early dysraphic poem “Into the Dusk-Charged Air” and the formalist masterpiece “Clepsydra” to the prose poetry of Three Poems, the antiphonal wavering of “A Wave,” and the undifferentiated flow of Flow Chart, Ashbery seeks new ways to “dissolve” his style and “put it in solution.” The fantasy that art can become nature takes on special significance in this line of poems that encompass transparency and formal dissolution.
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31

K, Morgan Richard. Altered Carbon (Takeshi Kovacs Novels). Tantor Media, 2004.

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32

(Narrator), Todd McLaren, ed. Altered Carbon (Takeshi Kovacs Novels). Tantor Media, 2005.

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33

Morgan, Richard K. Altered Carbon (Takeshi Kovacs Novels). 3rd ed. Tantor Media, 2004.

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34

Boardman, John. Alexander the Great. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691181752.001.0001.

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This book looks beyond the life of Alexander the Great in order to examine the astonishing range of Alexanders created by generations of authors, historians, and artists throughout the world, from Scotland to China. Alexander's defeat of the Persian Empire in 331 BC captured the popular imagination, inspiring an endless series of stories and representations that emerged shortly after his death and continues today. The book reflects on the most interesting and emblematic depictions of this towering historical figure. Some of the stories relate to historical events associated with Alexander's military career and some to the fantasy that has been woven around him. From Alexander's biographers in ancient Greece to the illustrated Alexander “Romances” of the Middle Ages to operas, films, and even modern cartoons, this illustrated volume takes readers on a fascinating cultural journey.
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35

Eller, Jonathan R. The Miracle Year: Summer and Fall. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036293.003.0036.

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This chapter focuses on Ray Bradbury's phenomenal year as a writer during the summer and fall of 1950. A chance meeting with Christopher Isherwood at a Los Angeles bookstore in early July 1950 provided the critical breakthrough that Bradbury needed to bring The Martian Chronicles more fully into mainstream literary appreciation. The timing of Bradbury's review copy gift could not have been better; Isherwood had just agreed to write extended book reviews for Tomorrow, a new literary magazine. Isherwood's review of the Chronicles appeared in the October 1950 issue of Tomorrow. This chapter first considers the impact of Isherwood's friendship on Bradbury's career before turning to Bradbury's new “Illustrated Man” concept for Doubleday and his creation of a 100-page typescript titled Long after Midnight. It also discusses Bradbury's deal with Bantam for an anthology of new fantasy and science fiction stories.
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36

Smith, Jad. Raising the Noise Level, 1951–66. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037337.003.0002.

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This chapter details the early life of John Brunner. Brunner had first meaningful encounter with science fiction (SF) when grandfather's rare 1898 Heinemann edition of H. G. Wells' The War of the Worlds (1898) ended up misshelved in his playroom. At six and a half years old, Brunner read it, adorned its endpapers with Martian fighting-machines, and that was that. By nine, Brunner was a full-fledged SF addict. During his final term at Cheltenham College in the fall of 1951, Brunner's first printed story appeared alongside fiction by A. Bertram Chandler, Kenneth Bulmer, and Manly Banister in Walt Willis' celebrated fanzine Slant. Though only a page long, “The Watchers” (1951) leaves little doubt that the seventeen-year-old Brunner began his career as a devoted idealist. In April 1966, Brunner became the first recipient of the British Science Fiction Association's Fantasy Award.
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37

Schilt, Thibaut. The Fabric of Desire. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036002.003.0001.

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This chapter presents a commentary on François Ozon's entire film career to date. It suggests that despite tremendous diversity in terms of cinematic choices (on generic, formal, and thematic levels), Ozon's oeuvre is decidedly consistent in its desire to blur the traditional frontiers between the masculine and the feminine, gay and straight, reality and fantasy, auteur and commercial cinema. The moving fabrics mentioned above are a leitmotif that visually represents the permeability of those frontiers. The chapter begins by exploring the director's own path to filmmaking before considering the colorful cast of characters in the short films that Ozon wrote and directed between 1988 and 1998. It then moves on to an analysis of his feature films: Sitcom (1998), Les amants criminels (1999), 8 femmes (2002), Sous le sable (2000), Swimming Pool (2003), Le temps qui reste (2005), Gouttes d'eau sur pierres brûlantes (2000), 5x2 (2004), and Ricky (2009).
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38

Margaret, Weis, Hickman Tracy, and Kirchoff Mary L. 1959-, eds. Leaves from the Inn of the last home: The complete Krynn source book : compiled by Tika and Caramon Majere, proprietors. Lake Geneva, WI: TSR, 1987.

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39

Collodi, Carlo. The Adventures of Pinocchio. Translated by Ann Lawson Lucas. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199553983.001.0001.

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The story of the wooden puppet who learns goodness and becomes a real boy is famous the world over, and has been familiar in English for over a century. From the moment Joseph the carpenter carves a puppet that can walk and talk, this wildly inventive fantasy takes Pinocchio through countless adventures, in the course of which his nose grows whenever he tells a lie, he is turned into a donkey, and is swallowed by a dogfish, before he gains real happiness. This new translation does full justice to the vibrancy and wit of Collodi's original. Far more sophisticated, funny, and hard-hitting than the many abridged versions (and the sentimentalized film) of the story would suggest, Ann Lawson Lucas's translation captures the complexity of Collodi's word-play, slapstick humour, and immediacy of dialogue. An adult reader will recognize social and political satire, and the invaluable introduction and notes illuminate the cultural traditions on which Collodi drew.
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40

Eller, Jonathan R. The Miracle Year: Winter and Spring. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036293.003.0035.

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This chapter focuses on Ray Bradbury's auspicious year as a writer during the winter and spring of 1950. Between the fall of 1949 and the fall of 1950, Bradbury submitted major works such as The Martian Chronicles and The Illustrated Man to various publications. His readers were beginning to make little distinction between his science fiction, his fantasy, and his semiautobiographical Green Town stories. Finally, Don Congdon was overcoming major market editorial resistance to Bradbury's stylistic originality and his specialized subjects. This chapter examines Bradbury's remarkable successes during the first weeks of 1950, which saw his science fiction tales “There Will Come Soft Rains” and “To the Future” being bought by Collier's, and “The Illustrated Man” by Esquire. It also discusses other significant developments in Bradbury's career, including a productive publishing visit to New York, his return to California to receive his “Invisible Little Man” award, and make his keynote address at the Bay Area society's annual banquet.
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41

Morgan, Richard K. Altered Carbon: A Takeshi Kovacs Novel (Takeshi Kovacs Novels). Del Rey, 2006.

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42

Murphet, Julian. Todd Solondz. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042768.001.0001.

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This book is a comprehensive study and appraisal of the career of Todd Solondz, one of the key figures of independent cinema in the 1990s, whose box office fortunes have been in decline ever since that heyday. The book argues that this decline is a fitting analogue for the story of American independent cinema more generally and the declining rate of US corporate profit at large. Tracking the long arc of Solondz's seven major feature-length films, the book isolates certain persistent motifs and themes—the fascination with suburban “junkspace,” the logic of repetition with disappointing variations, the stylistic and formal category of “left classicism,” the indulgence of subjective fantasy counterpointed by an insistence on discomfiting long takes, and the thematic obsession with the “gift of shit”—to account for Solondz's art of diminishing returns under the rubric of satire. The book is more than a simple auteur study in that it establishes a new understanding of the stakes of independent cinema in today's context of economic crisis and decline. It argues that no other contemporary film artist has explored as astutely and perversely the contradictions of aesthetics under the conditions of senile capitalism.
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43

Jones, Gwyneth. Joanna Russ. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042638.001.0001.

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Joanna Russ (1937-2011) was an outstanding writer, critic, and theorist of science fiction at a time when female writers were marginal to the genre, and very few women, perhaps only Judith Merril and Joanna herself, had significant influence on the field. In her university teaching and in her writing she championed the integration of new social models and higher literary standards into genre works. In her review columns for the Magazine of Fantasy and Science Fiction she dissected the masters of the New Wave with appreciation, wit, and incisive intelligence. Her experimental novel The Female Man (1975) is an essential seventies Feminist text, still relevant today; her groundbreaking academic articles are recognized as foundation studies in feminist and science fiction literary scholarship. Drawing on Jeanne Cortiel’s lesbian feminist appraisal of Russ, Demand My Writing (1999), Farah Mendelsohn’s essay collection On Joanna Russ (2009), and a wide range of contemporary sources, this book aims to give context to her career in the America of her times, from the Cold War domestic revival through the 1960s decade of protest and the Second Wave feminism of the 1970s and 1980s, into the twenty-first century, examining her novels, her remarkable short fiction, her critical and autobiographical works, her role in the science fiction community, and her contributions to feminist debate.
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44

Sommers, Joseph Michael, and Kyle Eveleth, eds. The Artistry of Neil Gaiman. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496821645.001.0001.

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Neil Gaiman (1960-present) currently reigns in the literary world as one of the most critically-decorated and popular authors of the last fifty years. Perhaps best known as the writer of the Harvey, Eisner, and World Fantasy-award winning DC/ Vertigo series, The Sandman, Gaiman quickly became equally-renowned in literary circles for works such as Neverwhere, Coraline, the Hugo, Nebula, Locus, etc. award-winning American Gods, as well as the Newbery and Carnegie Medal-winning The Graveyard Book. For adults, for children, for the comic reader to the viewer of the BBC's Doctor Who, Gaiman's writing has crossed the borders of virtually all media and every language making him a celebrity on a world-wide scale. Despite Gaiman's incredible contributions to multiple national comics traditions (from such works as Miracleman to the aforementioned The Sandman), to the maturation of American comics as a serious storytelling medium, and to changing the rights of creators to retain ownership of their works, his work continues to be underrepresented in sustained fashion in comics studies. As American Gods tops ratings charts for Starz, Anansi Boys can be found in radio play from the BBC, and adaptations of some of his work from Trigger Warning and Fragile Things become standalone comics by renowned artists, it seems timely to bring the bulk of Gaiman's comics into the scholarly discussion. The thirteen essays and two interviews with Gaiman and his frequent collaborator, artist P. Craig Russell, a formal introduction, forward, and afterword examine the work (specifically-comics, graphic novels, picture books, visual adaptations of prose works, etc.) of Gaiman and a multitude of his collaborative illustrators. The essays radiate from an examination of Gaiman's work surrounding proclamations challenging his readers to "make good art'; what makes Gaiman's work unique and worthy of study lies in his eschewing of typical categorizations and typologies, his constant efforts to make good art-whatever form that art may take-howsoever the genres and audiences may slip into one another. What emerges is a complicated picture of a man who always seems fully-assembled virtually from the start of his career, but only came to feel comfortable in his own skin and his own voice far later in his life.
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45

Witch in the House. Little Apple, 1993.

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46

Witch in the House. Scholastic, 1993.

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47

Official Sega Genesis and Game Gear Strategies, '94 Edition. New York, NY: Random House, Electronic Publishing, 1993.

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