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Journal articles on the topic 'Epic fantasy'
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1
Carroll, Siobhan Maria, and Edward Larkin. "Anthropocene Fantasy and Infrastructures of Exploitation." PMLA/Publications of the Modern Language Association of America 139, no. 2 (March 2024): 238–51. http://dx.doi.org/10.1632/s0030812924000142.
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AbstractThis essay traces the emergence of Anthropocene fantasy through an analysis of three multivolume series—George R. R. Martin's A Song of Ice and Fire, Robin Hobb's Realm of the Elderlings, and N. K. Jemisin's The Broken Earth. Each of these series repurposes the conventions of epic fantasy to analyze the ideological underpinnings of anthropogenic crisis. Among the most important tropes revised are fantasy infrastructures, which, in Anthropocene fantasy, frequently manifest a problematic division between the human and the nonhuman. Consequently, characters’ responses to these infrastructures often reflect these novels’ ecological politics. The surrender of agency associated with the abandonment of ancient infrastructures further indicates Anthropocene fantasy's interest in reimagining the individualistic mode of human agency that drives so many novel plotlines, fantasy and realist alike. Anthropocene fantasy's revision of its own problematic genre infrastructures thus has implications not only for the epic fantasy but for the novel form more broadly.
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Mateus, Rui. "Breaking the Borders of Fantasy Travelling through the Stillness in N. K. Jemisin’s Broken Earth Trilogy." Via Panoramica: Revista de Estudos Anglo-Americanos 10, no. 2 (2021): 45–59. http://dx.doi.org/10.21747/2182-9934/via10_2a3.
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As the genre of fantasy literature continues to grow, new authors strive to innovate and stray from the traditional principles that ruled it for many decades when epic fantasy was more prominent. Though epic features still remain a great part of the genre,the characteristics that rule fantasy worlds, stories, and characters have changed over time, bringing new aspects into the fold and introducing new voices. As academics attempt to categorize a genre as diverse as fantasy to better understand it and define it, authors continue to expand and mingle fantasy elements with components from other genres, especially science-fiction. The aim of this article is to identify how a taxonomy of fantasy can be used to understand the relation between the fantastic and the narrative. By analyzing N. K. Jemisin’s novels in the Broken Earthtrilogy throughFarah Mendlesohn’s categorization of fantasy proposed in Rhetorics of Fantasy(2008), the goal is to discover the aspects in which Jemisin brings innovation into the fantasy genre by applying elements from various categories.
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T, Nagammal. "Beliefs found in Silappathikaaram." International Research Journal of Tamil 4, S-8 (July 21, 2022): 222–27. http://dx.doi.org/10.34256/irjt22s832.
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The first epic to appear in Tamil was Silapathikaaram, composed by Ilangovadikal. It is an amalgamation of art, music, and drama. This is an epic that excels in language, content, literary style, and appreciation. Silapathikaaram is one of the twin epics that appeared in the second century AD. Faith is an expression of a person's inner feelings. Beliefs are created by people. The Epic explains what is happening in human life. Along with the mixture of fantasy, Silappathikaaram is an epic that embodies the epitome of human life. Beliefs are further developed by individual and community consciousness. Traditional beliefs are passed down from one generation to another over time. One of the hopes for human life can be said to be dreams. Beliefs have existed among people since ancient times. Every human being has different types of beliefs. Silapathikaaram is one of the best epics of femininity in the history of world literature. Beliefs influencing human life are also found in literature. The aim of this article is to examine the beliefs found in the first epic, Silapathikaaram.
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Maratova, Zhamal Zh, and Tatiana V. Nazarova. "W. Morris’s tradition in J.R.R. Tolkien’s epic fantasy." RUDN Journal of Studies in Literature and Journalism 25, no. 3 (December 15, 2020): 497–510. http://dx.doi.org/10.22363/2312-9220-2020-25-3-497-510.
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This article offers a comprehensive review of W. Morris influence on the epic fantasy of J.R.R. Tolkien. The purpose of the research is to reflect how Morris tradition influenced the development of Tolkiens fantastic prose - which later formed a separate subgenre of epic fantasy - and the whole fantasy genre. The objectives of the study include tracing the history of the development of fantastic element in literature - which served as a basis for the works of both authors - and finding poetological similarities and differences between W. Morris and J.R.R. Tolkien. The comparative study is based on the works of V. Gopman and K. Massey as well as on the original writings of Morris and Tolkien. The result of the study is the justification for W. Morris as the natural literary precursor of Tolkien. Based on the influence and partial borrowing of Morris imagery and motifs, Tolkin develops the theoretical foundation for the genre of magical fairy tale, which will later be called fantasy.
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Campos, Patrick. "The Fantasy-Adventure Films as Contemporary Epics, 2000-2007." Plaridel 6, no. 1 (February 1, 2009): 1–36. http://dx.doi.org/10.52518/2009.6.1-01cmps.
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This paper aims to compare the narrative form and themes of folk epic (as typified by Labaw Donggon) and the contemporary fantasy-adventure film (as typified by the four Enteng Kabisote films). Labaw Donggon, an epic from the Sulod society of Central Panay, possesses all the universally decipherable elements of the epic narrative. On the other hand, the Enteng Kabisote films’ narrative forms, themes, social contexts, and function may be generalized as applicable to most, if not all, of the other fantasy-adventure films at the turn of the century. The four films are found to be episodic like ethnoepics as they have loosely connected episodes, adventurous detours, and skirmishes forestalling a final battle. The contemporary fantasy-adventure film is also found to be cyclical with its repetitions and recreations, novel retellings, sequels and prequels, and the addition of new episodes and characters. As typified by the Enteng Kabisote films, the contemporary fantasy-adventure film perpetuates a narrow, even muddled, sense of nation. It has shrunk its vision into the comfort zone of the family, insecure about and unsure of the individual’s and the nation’s abilities to aspire for heroism and expansion. Instead of expanding the oft-repeated centrality of the family in the ethnoepic, the fantasy-adventure film has remained fixated on this theme and has neither widened, deepened, nor problematized it.
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Łaszkiewicz, Weronika. "Abandoning the Quest? High/Epic Fantasy and the Challenges of the Anthropocene." Atlantis. Journal of the Spanish Association for Anglo-American Studies 46, no. 1 (June 28, 2024): 131–48. http://dx.doi.org/10.28914/atlantis-2024-46.1.08.
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The aim of this article is to determine why the prototypical form of high/epic fantasy cannot effectively address the present environmental, social and political problems gathered under the umbrella term of the Anthropocene. Drawing on Marek Oziewicz’s concept of planetarianist fantasy and scholarship on the Anthropocene, as well as on examples of selected fantasy series (J.R.R. Tolkien’s The Lord of the Rings, Stephen R. Donaldson’s The Chronicles of Thomas Covenant, Guy Gavriel Kay’s The Fionavar Tapestry, and Robert Jordan’s The Wheel of Time), this article investigates the sub-genre’s most persistent components and juxtaposes them against issues related to ethnicity, species interconnectedness, non-human agency, sustained urban development and urban ethics which are raised by Anthropocene debates. This analysis will illustrate why the form of high/epic fantasy requires reconfiguration so that it can continue to evolve together with the needs of contemporary readers.
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Dreier, Stephanie. "The ethics of urban and epic Russian fantasy." Canadian Slavonic Papers 60, no. 1-2 (April 3, 2018): 72–86. http://dx.doi.org/10.1080/00085006.2018.1435768.
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Măcineanu, Laura. "Feminine Hypostases in Epic Fantasy: Tolkien, Lewis, Rowling." Gender Studies 14, no. 1 (December 1, 2015): 68–82. http://dx.doi.org/10.1515/genst-2016-0005.
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Abstract The paper identifies the types of female figures present in the works of three well-known fantasy writers, J.R.R. Tolkien, C.S. Lewis and J.K. Rowling, discussing the ways in which these characters are presented, their relationship with other characters, and their role in the economy of the novel, which is more important than may appear from a first reading. It also tries to explain the reasons that prompted the above-mentioned authors to choose these female hypostases.
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McGurl, Mark. "Social Capital: Epic Fantasy and the Magical School." Genre 56, no. 1 (April 1, 2023): 109–27. http://dx.doi.org/10.1215/00166928-10346860.
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Abstract The term “cultural capital” has entered the general lexicon of cultural criticism as a description of social prestige won through the acquisition of knowledge rather than monetary wealth. And, yet, for all its utility in delineating the form of value acquired by students in the study of literature in school, cultural capital has proven limited in its ability to explain the dynamics of the contemporary literary field at large. Addressing this limitation, this essay reintroduces a lesser-known term from the work of Pierre Bourdieu, “social capital,” exploring how it becomes strikingly visible in one of the dominant popular genres of our time, epic fantasy.
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Dr. Abdul Shakoor and Muhammad Tahir. "Elements of Fantasy in Arabic Literature after the Emergence of Islam: A Brief Review." Dareecha-e-Tahqeeq 3, no. 3 (January 16, 2023): 235–45. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i3.68.
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Fantasy is an imaginative, unrealistic component of a story or tale which appears unusual and strange. It comprise of unbelievable actions and events. Its basic types are fable, epic, super heroic, chronological, romantic, scientific, fabulous, planetary fantasy, extra planetary, magical, adulthood, narcissist and idealist fantasies. The subject article is a discussion of literary importance of all types of fantasies in Arabic literature after the advent of Islam.
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Komorowska, Joanna. "Masters of Truth in the Middle-Earth: Perceiving the Worlds of Fantasy through the Lens of Detienne’s Theory." Załącznik Kulturoznawczy, no. 5 (2018): 157–67. http://dx.doi.org/10.21697/zk.2018.5.10.
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The essay analyzes the importance of true speech (as described in M. Detienne’s Les Maîtres de Vérité) in epic fantasy. Starting with J.R.R. Tolkien’s Middle-Earth, through Lyndon Hardy’s magical worlds, Ursula LeGuin’s Earthsea and AnnMcCaffrey’s Dragonriders of Pern series, speech carries an added value of truth, preserving and shaping the universe in turn – such understanding of privileged speech links modern fantasy literature to its ancient models (Homer or Hesiod).
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Sternberg, Rolf. "FANTASY, GEOGRAPHY, WAGNER, AND OPERA*." Geographical Review 88, no. 3 (July 1998): 327–48. http://dx.doi.org/10.1111/j.1931-0846.1998.tb00111.x.
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ABSTRACT. Wilhelm Richard Wagner fused fantasy based on epic and lore with seamless scores, using landscapes and urban images to forge spatial order on stage. As a footloose composer‐conductor, Wagner was considered a globetrotter for his time, and from trans‐European tours he drew inspiration for numerous stagings. Nine of his operas have rustic pastoral settings, with actors silhouetted against geological formations, forests, vistas of undulating terrain for pilgrimages, or raging seas, all visually believable scenery. Rienzi and Die Meistersinger von Nürnberg are urban in setting, whereas Die Feen and Das Liebesverbot are set in a castle‐like format.
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Martin, James S., Christian A. Vaccaro, D. Alex Heckert, and Robert Heasley. "Epic Glory and Manhood Acts in Fantasy Role-Playing." Journal of Men’s Studies 23, no. 3 (August 24, 2015): 293–314. http://dx.doi.org/10.1177/1060826515601355.
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Su, John J. "Epic of Failure: Disappointment as Utopian Fantasy inMidnight’s Children." Twentieth-Century Literature 47, no. 4 (2001): 545–68. http://dx.doi.org/10.1215/0041462x-2001-1002.
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Kurdiayev, Grigory Igorevich. "Evolution of Mythological Narrative in Sergey Bodrov's Work." Journal of Flm Arts and Film Studies 7, no. 1 (March 15, 2015): 59–69. http://dx.doi.org/10.17816/vgik7159-69.
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The article explores the work of Sergey Bodrov Sr. in the context of the release of the epic fantasy film Seventh Son and substantiates the reason of the organic adaptation of a Russian directors artistic stance in foreign cinema.
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Ivanova, Elizaveta A. "Genre Changes in the “Tintentrilogie” by Cornelia Funke." World Literature in the Context of Culture, no. 16 (2023): 5–10. http://dx.doi.org/10.17072/2304-909x-2023-16-5-10.
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The “Tintentrilogie” by Cornelia Funke is one of the most well-known works of German fantasy literature. It is meant for children and teenagers, but the first part differs from its sequels as this article demonstrates. The first book of the trilogy strictly follows the canons of children’s literature while the second and the third ones incorporate significant elements of epic fantasy. Such blending of genres allows to expand the reading audience and to treat more seriously the subjects brought up in the text.
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Ivanova, Elizaveta A. "Female Voice in German Fantasy for Teenagers “Tintentriologie” by Cornelia Funke." World Literature in the Context of Culture, no. 14 (20) (2022): 30–35. http://dx.doi.org/10.17072/2304-909x-2022-14-30-35.
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The “Tintentrilogie” by Cornelia Funke is meant for teenagers, but includes subjects interesting also for an adult, such as the role of women in the society. Funke uses a traditional quasi-medieval fantasy world to address the problem of women in patriarchal society and in epic fantasy. This world is a creation of one of the characters, which makes it evident that the problem of misogyny still exists in the modern days too. The female characters of Funke deny such attitude toward them and play crucial roles in the plot.
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Su, John J. "Epic of Failure: Disappointment as Utopian Fantasy in "Midnight's Children"." Twentieth Century Literature 47, no. 4 (2001): 545. http://dx.doi.org/10.2307/3175993.
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Deen, S. Jainulah. "A Case Study - Digital Social Medium used for The Epic Fantasy Film “BAAHU BALI”." Journal of Advanced Research in Journalism & Mass Communication 05, no. 04 (October 31, 2018): 157–59. http://dx.doi.org/10.24321/2395.3810.201832.
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Abdul Aziz, Sohaimi, and Rohaya Md Ali. "Adaptation of Hikayat Hang Tuah in Children's Literature." Malay Literature 25, no. 2 (December 8, 2012): 261–85. http://dx.doi.org/10.37052/ml.25(2)no6.
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Hang Tuah is a character in the epic Hikayat Hang Tuah which has become the pride of Malay Literature. The epic, and especially the protagonist of the epic, Hang Tuah, have been much discussed. This is also the case where children’s literature is concerned, as the Hikayat Hang Tuah has attracted the attention of Malaysian authors to produce adaptations of stories from this epic. The stories linked to the character of Hang Tuah contain many elements of fantasy which makes them suitable for adaptation as children’s literature. Establishing what types of adaptations have been made of these stories forms the core of this study. Also, the acceptance of Hang Tuah as a hero of the Malays has been challenged by movements, especially in social realism. As a result, the character of Hang Jebat has become accepted as a heroic figure instead. However, whether or not social realism has influenced adaptations done for children, and whether there has been a shift in the figure of hero as a result of social realism are still unanswered questions which this study addresses. This study has found that adaptations of stories about Hang Tuah for children are mainly partial adaptations, and that the stories chosen for adaptation are especially those containing strong elements of fantasy. Illustrations are also an element in these partial adaptations. The study has found no trace of the influence of social realism in the adaptations. Hang Tuah is still depicted as a heroic figure while Hang Jebat continues to be depicted as the traitor. Keywords: children’s literature, Hang Tuah, adaptations, social realism, illustrations
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Ivanova, Elizaveta A. "Transformation of the Concept ‘Hero’ in Joe Abercrombie’s Works." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 20, no. 4 (November 25, 2020): 478–82. http://dx.doi.org/10.18500/1817-7115-2020-20-4-478-482.
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Based on myths, epic, romance and adventure literature, classical fantasy books often depicted their heroes as warriors physically fighting evil. Nowadays the British writer Joe Abercrombie, whose works belong to the so-called grimdarkfantasy, depicts wars questioning the value of violent heroic deeds and the concept of a ‘hero’ itself.
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Chayanika Roy. "Reversing the Gaze: Subversion and Re-interpretation of Mythical Stereotypes in Chitra Banerjee Divakaruni’s The Palace of Illusions." Creative Launcher 6, no. 2 (June 30, 2021): 113–18. http://dx.doi.org/10.53032/tcl.2021.6.2.16.
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Epics are indeed an indelible part of our existence carrying us into the timeless history where reality and fantasy blends into a harmonious whole. A diasporic women writer re-creating myth and folklore in a contemporary context and re-telling a popular epic Mahabharata from Draupadi’s perspective is monumental and extraordinary. There have been sudden inclinations on part of the contemporary writers to re-interpret the epics in a new light highlighting the women characters who have been otherwise neglected in the original story as tangible subjects. Usually, epic narratives portray women on an ideological viewpoint; women being embodiments of perseverance and forbearance, mute spectators of misery and injustice perpetrated on them. But Divakaruni re-created the women characters by assigning them a voice of their own so that they become strong enough to express their choices and by living their own bodies vis-à-vis lives. The mystifying feminine psyche of the mythical women characters is unfolded before the readers and many unknown crevices of the inner mind are laid bare. These impressions and explorations of the epic characters were actually a hidden trope for self-discovery and articulation. The Palace of Illusions is a re-creation of the illusionary, magical world of Draupadi and her dream destination and how this world gets shattered in front of her eyes is not only literal but metaphorical in course of the novel. In an attempt to re-work the epic, the contemporary women writers deviate from the usual phallocentric thrust of the epic and make Draupadi the hero of the novel; subverting the stereo-typed gendered version of an epic. Divakaruni’s fiction strives to subvert the gendered binaries looking at the epic and its magnificent characters and events through Panchaali’s gaze. Thus, the Western model of the male gaze is repudiated and the female gaze is celebrated in an altogether new form. Is the story of Mahabharata a familial clash between fraternity or a woman’s personal desire and Panchaali’s revenge which drenched the country and its inhabitants in the blood is the question that is left open-ended for the readers who revisits Mahabharata through the eyes of Draupadi vis-a-vis Chitra Banerjee Divakaruni.
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Heerink, Mark. "Van Troje naar Rome." Lampas 50, no. 1 (January 1, 2017): 53–74. http://dx.doi.org/10.5117/lam2017.1.005.heer.
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Summary Book 3 of Virgil’s Aeneid has always been evaluated quite negatively, and scholars have been surprised by the Homeric fantasy world that is presented. This article will present a metapoetical reading of Aeneid 3, explaining the striking nature of the book, which is interpreted as commenting on Virgil’s relationship with Homeric epic.
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Muliani, Metta. "Analisis Komposisi Soundtrack Epic “You See Big Girl” Karya Hiroyuki Sawano dalam Serial Animasi Attack on Titan." PROMUSIKA 8, no. 2 (May 7, 2021): 58–68. http://dx.doi.org/10.24821/promusika.v1i2.4454.
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Action-fantasy merupakan genre yang diproduksi secara lebih meluas dalam industri perfilman dan cenderung menggunakan musik cinematic yang mampu menggambarkan suasana dan emosi pada dunia imajiner dalam film tersebut. Pemilihan You See Big Girl sebagai objek penelitian dikarenakan penataan musik cinematic yang megah, kesesuaiannya mengiringi suasana pertarungan pada narasi, juga sebagai musik mandiri yang dinikmati terlepas dari perannya mengiringi adegan. Penelitian kualitatif deskriptif ini bertujuan untuk menganalisis teknik pengolahan komposisi soundtrack You See Big Girl dengan mendeskripsikan elemen musik epic di dalamnya. Metode penelitian yang digunakan adalah studi literatur, studi diskografi, dan observasi, serta pendekatan dengan teori Lehman dan Derrick Werlé untuk menganalisis elemen-elemen musik epic. Hasil penelitian menunjukkan bahwa You See Big Girl merupakan salah satu karya musik epic dengan penggunaan instrumen yang berkaitan dengan pertarungan dan peperangan, serta membangun peningkatan ketegangan dari suatu bagian ke bagian berikutnya melalui poliritmik, aksen marcato, big crescendo, sekuen, sudden silence yang mengakhiri periode kalimat, ostinato, dan abstract theme, untuk menggambarkan suasana megah, semangat, aksi pertarungan dan peperangan, serta kesan hebat melalui musiknya.AbstractEpic Soundtrack Composition Analysis "You See Big Girl" Works by Hiroyuki Sawano in Animated Series Attack on Titan. Action-fantasy are some movie genres that has the most expansive franchises in film industry and tend to use cinematic music to correlate the atmosphere and emotions of the movie’s imaginary universe. The analysis of You See Big Girl is due to its majestic cinematic music arrangement, its suitability in accompanying the battle scene, and also can be enjoyed as an independent track despite of its role in accompanying the scene. This qualitative descriptive research aims to analyze the musical composition technique by describing the epic musical element. This research contains of literature study, discography, and observation as the research methods, along with the approach of Lehman and Derrick Werlé’s examine on epic music to analyze the epic element. The result shows that the You See Big Girl is one of the various epic music with the use of battle and war instrument, as well as tension built gradually from a section to the following by the use of polyrhythm, marcato accent, big crescendo, sequence, sudden silence to ends the musical phrase, ostinato, and abstract theme, to portray a majestic, vibrant, war and battle scene, and the greatness through the music.Keywords: analysis; composition; animation; epic soundtrack; You See Big Girl
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Abdulhafeth Ali Khrisat. "The Image of Muslims in Torquato Tasso’s <i>Le Gerusalemme liberata</i>." Asiatic: IIUM Journal of English Language and Literature 15, no. 2 (December 11, 2021): 66–79. http://dx.doi.org/10.31436/asiatic.v15i2.2344.
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This paper examines Italian Renaissance poet Torquato Tasso’s epic poem titled Gerusalemme liberata (Jerusalem Delivered [1581]). Tasso imaginatively narrates events and details from the siege of Antioch and Jerusalem in the First Crusade and compares historical Muslim characters with their Christian counterparts. Like other Orientalists, Tasso in his epic adopts a stereotypical image of Muslims and portrays them as savages and worshipers of idols. This paper explains these images, their sources, and the effects of representations by way of applying analytical and critical descriptive method. It will address Tasso’s epic style, blending specific titles of history and magic with his fantasy in his portrayal of Muslim characters as compared to their Christian counterparts. It concludes with a critique of the Orientalist practice of associating the Muslims with terrorism, violence, and inhumanity in contemporary Western culture.
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Hughes, A. J., Bo Almqvist, Séamas Ó. Catháin, and Pádraig Ó. hÉalaí. "The Heroic Process: The Form, Function & Fantasy in Folk Epic." Seanchas Ardmhacha: Journal of the Armagh Diocesan Historical Society 13, no. 2 (1989): 332. http://dx.doi.org/10.2307/29742415.
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Raaflaub, Kurt A. "Riding on Homer's Chariot: The Search for a Historical ‘Epic Society’." Antichthon 45 (2011): 1–34. http://dx.doi.org/10.1017/s0066477400000034.
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AbstractThis paper continues the author's long-standing quest to define the historicity of ‘epic society’ and to understand epic warfare and battle descriptions. It summarises the range of questions involved and a number of aspects on which some agreement has been achieved. Further progress is only possible by using new approaches. One of these, the comparative study of epic traditions, has recently yielded important results that are briefly summarised. Another new approach, overlapping with that of narratology, aims at understanding the working methods and conventions of the epic singer's art. The application of this approach to the narrative of epic battles has made it possible to distinguish between two large type scenes: ‘normal battles’ and ‘flight andaristeiaphases’. The former are essentially historical and thus help us understand early Greek fighting, while the latter are essentially fantastic. Three elements occur predominantly or almost exclusively in these fantasy scenes: thearisteiaiof the greatest heroes, the active intervention of gods in battle, and the use of chariotsin battle.The demonstration, provided in the final section of this paper, that the latter — a component of Homeric battle that has long resisted convincing explanation — is part of the singer's arsenal of fantastic entertainment and ‘special effects’, removes it from historical consideration and further facilitates the explanation of epic battles and their historicity.
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Muliani, Metta. "Analisis Komposisi Soundtrack Epic “You See Big Girl” Karya Hiroyuki Sawano dalam Serial Animasi Attack on Titan." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 3, no. 2 (November 27, 2020): 73. http://dx.doi.org/10.26740/vt.v3n2.p73-83.
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Action-fantasy are some movie genres that has the most expansive franchises in film industry and tend to use cinematic music to correlate the atmosphere and emotions of the movie’s imaginary universe. The analysis of You See Big Girlis due to its majestic cinematic music arrangement, its suitability in accompanying the battle scene, and also can be enjoyed as an independent track despite of its role in accompanying the scene. This qualitative descriptive research aims to analyze the musical composition technique by describing the epic musical element. This research contains of literature study, discography, and observation as the research methods, along with the approach of Lehman and Derrick Werlé’sexamine on epic music to analyze the epic element. The result shows that the You See Big Girl is one of the various epic music with the use of battle and war instrument, as well as tension built gradually from a section to the following by the use of polyrhythm, marcato accent, big crescendo, sequence, sudden silence to ends the musical phrase, ostinato, and abstract theme, to portray a majestic, vibrant, war and battle scene, and the greatness through the music. Keywords: analysis, composition, animation, epic soundtrack, You See Big Girl
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Ivanova, Natalia, and Olga Ryzhchenko. "META-GENRE OF FANTASY IN THE CONTEXT OF MODERN SCIENCE." RESEARCH TRENDS IN MODERN LINGUISTICS AND LITERATURE 2 (November 7, 2019): 23–37. http://dx.doi.org/10.29038/2617-6696-2019.2.23.37.
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The article deals with the problem of interpreting the phenomenon of fantasy in modern science. Fantasy has spawned many discussions related to the definition of its sources and genre nature, the relationship with the myth-folklore tradition, the problems of classification, the specifics of extra-literary functions and many others. We consider fantasy to be one of the branches of speculative fiction, which naturally formed into an independent industry in the second half of the twentieth century. Initially having appeared as a genre, fantasy subsequently has outgrown this category. Today we can say with confidence that fantasy is a meta-genre, which has its own structure of modeling the world and unites various literary genres (novel, novelette, lyric poetry and others) and types of art (sculpture, cinema, animation, graphic arts, painting, and others) with a common subject of artistic representation.The constant dynamics of fantasy leads to the increase in the number of topics (heroic, epic, historical, magical, scientific, romantic and mystical) and, as a result, the readership as well. For example, it can be classified by age criterion (children – adult), by geographic criterion (urban – countryside), and even by gender principle (men – women fantasy). There are several approaches presenting different aspects of the phenomenon: classifications by the type of adventure or problematic-thematic principle (Ramin Shidfar or Sergey Alekseev and Mikhail Batshev). Such a diverse scientific interest in fantasy, multiple attempts to classify and systematize it, as well as going beyond the boundaries of the literary genre, testify to the ongoing process of its development.
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Lee, Hunam. "A Study of the Utilization of Cultural Contents of Epic Monster Tales: Focusing on the “Myeong-Ju-Bo-Wol-Bing” Trilogy." Korean Society of Culture and Convergence 45, no. 9 (September 30, 2023): 285–97. http://dx.doi.org/10.33645/cnc.2023.09.45.09.285.
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This study examined three distinct fantasy elements present among the nine different monsters featured in the classic trilogy “Myeong-Ju-Bo-Wol-Bing” and effectively integrated them into the creation of a drama synopsis. The fantasy elements embedded within this epic narrative can be summarized as follows: Firstly, the monsters' remarkable and unbounded transformation abilities enable an in-depth exploration of their conflicts with humans, providing a means for humans to fulfill their desires vicariously. Secondly, the narrative unfolds through captivating encounters, featuring mysterious items, between the monsters and celestial beings, resulting in awe-inspiring spectacles. Thirdly, the tale of reincarnation, transitioning between monster and human forms and vice versa, instills a sense of tension and eager anticipation.
The drama synopsis takes native monsters from Korean classic literature and reimagines them as modern entities, delving into their hidden psychological depths and desires. The narrative serves as a fantasy hero novel, weaving themes of coexistence and communication between humans and monsters into its core.
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Piňos, Václav Gabriel. "Agency and Agnosis in the Orlando furioso." arcadia 56, no. 1 (June 1, 2021): 27–43. http://dx.doi.org/10.1515/arcadia-2021-9014.
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Abstract This article foregrounds human epistemological disorientation in the Orlando furioso with a view to theological implications which, if not rigorously followed up by Ariosto’s verse (too supple to endure rigor), are nevertheless made possible by its discourse. Beginning with the recurring fantasy-inducing impotence of will (madness) that unite the narrator with the characters, the article examines the Furioso’s own transition from romance to epic mode, aiming to highlight the survival of romance and its subversion of the epistemological exhaustiveness of the epic. By turning to the theological implications of the human epistemological condition that the Orlando furioso repeatedly evokes, it suggests how a functional agnosticism could begin to operate beneath the surface of theic humanist fictions and thought.
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Ahn, Sang-Won. "A Study on the epic characteristics of Korean web novel ‘Romance Fantasy’." Humanities Contents 55 (December 31, 2019): 219–34. http://dx.doi.org/10.18658/humancon.2019.12.219.
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Олена Олександрівна Марутовська. "EMOTIONAL AND RESONANT PROPERTIES POSTMODERNIST SENSORY IMAGE IN ENGLISH EPIC FANTASY TEXTS." MESSENGER of Kyiv National Linguistic University. Series Philology 19, no. 2 (November 28, 2016): 57–65. http://dx.doi.org/10.32589/2311-0821.2.2016.113748.
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This paper explores emotive repercussions of postmodern sensory imagery resultingin shifts from aesthetic meditation to fluctuant wavelike perception of the artistic reality. Apartfrom conventional properties to reflect sensual and instinctive nature of the human being,the paper claims that a sensory image acquires transmedia technocratic traits. The derived modelsof sensory images reiterate in postmodern fiction so as to empower intertextual entertainmenton one hand, and formulate transmedia or technocracies tactics in their implementation.
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McManus, Patricia. "The Shape of Power and of Pain in Game of Thrones." Utopian Studies 34, no. 2 (July 2023): 319–34. http://dx.doi.org/10.5325/utopianstudies.34.2.0319.
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ABSTRACT To obliterate history from any narrative model, you must flatten that model so that no temporal change is possible. One way to do this is to remove instances of conflict, another is to render conflict perpetual. The latter is the move made by Game of Thrones, a television drama treated here as an antiutopian text, a model of twenty-first century epic fantasy in its surrender not of morality but of historicity.
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Măcineanu, Laura. "Women Figures in George Macdonald’s and J.R.R. Tolkien’s Fantasy Writings." Gender Studies 18, no. 1 (December 1, 2019): 69–82. http://dx.doi.org/10.2478/genst-2020-0006.
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Abstract It is an undisputed fact that George MacDonald’s fantasy books were among J.R.R. Tolkien’s many sources of inspiration when writing his Middle-earth epic. Among these, “The Princess and the Goblinˮ and “The Princess and Curdieˮ attracted my attention, through the figures of some interesting women who appear in both of them. This paper endeavours to draw a comparison between Tolkien’s outstanding female characters in “The Lord of the Ringsˮ and the earlier versions of the same feminine archetypes in the two MacDonald books, noting both points of similarity and differences, as well as the strong effect these women have upon other characters in the stories.
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Du, Bojie. "Analysis of the Application of Cooperative Principle and Politeness Principle in the Movie The Lord of the Rings." Frontiers in Humanities and Social Sciences 2, no. 5 (May 17, 2022): 59–66. http://dx.doi.org/10.54691/fhss.v2i5.710.
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The movie The Lord of the Rings took the world by storm upon its release, winning 351 international awards and 284 nominations, including 17 Academy Award nominations. It is adapted from the epic fantasy novel, written by Professor Tolkien, which has caused a sensation in UK and even across the globe since its publication in 1954. And Tolkien was then known as “the originator of fantasy literature” and “the father of fantasy literature”. As is thought by some critics, without The Lord of the Rings, a modern literary type of fantasy genre would not be produced. The characters in the successful works have different speaking styles whose conversations largely promote the development of plots. Thus, for the purpose of understanding its plots more precisely, it is necessary to find out the Conversational Implicatures, the real meaning conveyed by the speaker, and explore the real meaning expressed by the speakers. Here, the Cooperative Principle and the Politeness Principle in pragmatics will be helpful. Therefore, this paper analyses some selected conversations in The Lord and the Rings which violate the Cooperative Principle and the Politeness Principle in pragmatics. It aims to find out the generation of the Conversational Implicature or the effects of these conversations in characterization and plot arrangement. Meanwhile, it may also be enlightening for analyzing daily conversations in various occasions of real life.
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Anistratenko, Antonina, and Anatoliy Kotsur. "Fantasy interpretation model for historiography Fantasy novel plus AH subgenre." Current issues of social sciences and history of medicine, no. 2 (August 14, 2023): 104–8. http://dx.doi.org/10.24061/2411-6181.2.2022.364.
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Taking into account the different goals of the AH and Fantasy novel plus AH subgenre writing, we can try and develop one definition of both. AH writing reconstructs the national or world history and the changed facts, conclusions draw our attention to specific facts, key moments of well-known stories that are invisible for us, since of everyday life’s obvious reality prevents us from analyzing processes, we turn on the automatic mode instead. While Fantasy novel plus AH subgenre writing is rather monumental work, because it turns to the world history or historiography model making. Fantasy novel plus AH subgenre works use the historyographical method, but they exist in unreal time dealing with well-known constructions of the action world history of civilization. For example, one of the first uchronic stories by George Richard Raymond Martin “The Hedge Knight” (Martin) uses the space of Middle Ages in Europe for fiction story modeling. Also, it is an abstract of the world of the latest “Game of Thrones” – the greatest fiction saga of the new age literature in the 2000s. There is no doubt that “A Song of Ice and Fire” is constructed based on the matrix of such myth as “The Elder Edda” and “The Lord of the Rings” by John R. R. Tolkien. Legendary fantasy writer J. R. R. Tolkien spent much of his life studying, translating, and teaching ancient tales of northern Europe at Oxford and drew on them for his own writing. These epic stories, with their wizards and knights, dragons and trolls, cursed rings and magic swords, are as fascinating today as they were thousands of years ago. Reading them brings us as close as we will ever get to the magical worlds of the Vikings and the origins of their twentieth-century counterpart: Tolkien’s Middle Earth gave G. R. R. Martin, according to his own confession, the idea of the fantasy world of Westeros. The article deals with the specifics of the Fantasy novel plus AH subgenre in comparison to the Alternate history itself. The aim of the study is to emphasize the main features of the Fantasy novel plus AH subgenre and its common and different characteristics. The study uses such a method as comparative, descriptive, analysis and statistics counting. The novelty of the current research is realized by the essence of the first-time study of the AH subgenres on the world literature sources. The sources of the study are novels written by G. R. R. Martin “A Song of Ice and Flame”, “Kaiser and the War” by Simon J. Ortiz and V. Neff “Queens Don’t Have Legs”. Conclusions. As well as “A Song of Ice and Flame” by G. R. R. Martin, V. Neff’s trilogy exhibits a gallery of kings, queens, dukes, wizards, captains, people. Some of them are real, some are prototypes of actual statesmen; some characters come from Greek myths, while some – from the author’s fantasy. Although the objective of the alternative history method in the both works is quite different, it plays a similar role in the plot construction. Alternative history builds the walls of fantasy world from the bricks of actual historical elements, making the novel interesting for readers and involving them as betrayers.
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Ardhani, Rizky Amalia. "CORPUS LINGUISTIC RESEARCH: ANALYZING ADVERB OF PLACE IN "THE HOBBIT" NOVEL BY J.R.R. TOLKIEN." ENGLISH JOURNAL OF INDRAGIRI 5, no. 2 (July 7, 2021): 273–80. http://dx.doi.org/10.32520/eji.v5i2.1593.
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One part of speech that is usually in various works of literature is an adverb. Adverbs are important because used to provide a further description of a verb. Adverb will explain how an incident took place. This article will take the theme from the adverb of place. The function of the adverb of place in sentence structure is to express where an event occurs. Adverbs of place are usually after an object or main verb. This study examines the frequency and usage patterns of the adverb of place in J. R. R. Tolkien's novel The Hobbit. The Hobbit is an epic fantasy adventure novel by world-renowned author J.R.R. Tolkien. In a short time, this fantasy novel series immediately received a positive response from readers in England and America before spreading to all corners of the world. This novel was chosen as the data source because the sentences contained many adverbs of place.
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Nasipkhan Kh., Suyunova. "Nogai fairy tale epic: genesis and evolution of genres." Kavkazologiya 2023, no. 2 (June 30, 2023): 293–305. http://dx.doi.org/10.31143/2542-212x-2023-2-293-305.
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The article summarizes some observations made by the author on the texts of authentic materials and gives conclusions related to the genesis, history of evolution, characteristics and distinction criteria of Nogai fairy tale epic genres: fantasy fairy tales, animal fairy tales, and home-life fairy tales. Based on well-known works of researchers-structuralists, relics of ancient rituals and rites, myths, and ancient beliefs surviving to the present day are highlighted in the texts of Nogai fairy tales, while also emphasizing their relationship with the social history of tribes and peoples. Since the genesis of folklore genres dates back to a quite distant pre-national period, and as the genres undergo then a long process of evolution common to many peoples, the Nogai tale is studied as part of the world and Turkic fairy tale epic. Observations and conclusions are illustrated with ma-terials taken from the original texts of multi-genre Nogai fairy tale prose. A significant place is given to unpublished archive materials and newly recorded texts of Nogai fairy tales.
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Öztürk, Emrah. "Re-Defining the Villain in A Song of Ice and Fire from the Aspect of Totemism." Religions 11, no. 7 (July 16, 2020): 360. http://dx.doi.org/10.3390/rel11070360.
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The confrontation between good and evil is one of the essential aspects of the fantasy genre. In George R.R. Martin’s epic fantasy novel series A Song of Ice and Fire (ASOIAF, 1996–2011), he approaches this conception from a critical point of view. Whilst Martin creates deep and challenging characters in his novels, he introduces the White Walkers to the audience as almost one-dimensional, classic antagonists. It can therefore be questioned whether this contradicts his approach towards the medieval ethos. In order to answer this question, I will approach the narration from the aspect of totemism, and will use totemic signs and values for my analysis. Firstly, I will establish a relationship between totemism and the Old Gods. Conceptions such as ‘sacred totem animal’, ‘totem as an emblem’, ‘restriction of incestuous intercourse’, and ‘spirits’ will be useful for comprehending the Old Gods. Furthermore, I will try to analyze the narration with the elements of totemism. Lastly, in the light of this examination, I will try to explain what theWhite Walkers represent within the narration.
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Wisniewski, Mark. "Tolkien fanzines, fandom and the literary tradition in the 1960s." Journal of Fandom Studies, The 12, no. 1 (March 1, 2024): 3–18. http://dx.doi.org/10.1386/jfs_00086_1.
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This article summarizes the manner in which fanzine authors contextualize J. R. R. Tolkien’s fiction within diverse literary traditions. Although rarely the topic of academic discussions in the 1960s, fanzine authors regularly contextualize The Hobbit, The Lord of the Rings, and Tolkien’s unfinished fiction in terms of genre, canon and literary tradition. After examining and categorizing the authors and texts discussed in 80 fan letters and articles, I found that fan authors are almost evenly divided in the ways they contextualize Tolkien’s fiction: as part of the fantasy tradition, as an inheritor of the epic or mythological genealogy, or as part of a third more eclectic tradition.
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MICU, Aritina. "FICTIONALIZED OTHERNESS - IDEALIZATION OF A FANTASY, PANAIT ISTRATI’S “CHIRA CHIRALINA”." Incursions into the imaginary 14, no. 1 (August 20, 2023): 71–88. http://dx.doi.org/10.29302/inimag.2023.14.4.
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Written at the instigation of Romain Rolland at the end of 1922, “Kyra Kyralina” manages to bring into the same epic score, the distant echo of times projected into legend, but also slices of life from the present of the pivotal character of the cycle, Adrian Zograffi. The text is part of a very personal form of autobiography, in which the narrator blends his own stories and the stories of others that he assimilates as life experience. This first Istratian creation pays homage to friendship, but also offers images of picturesque and fascinating femininity captured in an idealizing way. The first female projection is the mother of the narrator-character, Joița, a simple but ambitious woman, who tries to transmit to her only child strong values, principles, sometimes different from those of the world of the slums through which she regularly migrates. However, the most powerful images of this triptych text are the two Chire, who initially have a plausible consistency, and then their presence is projected into the realm of the chimerical, increasingly detached from a tangible reality and becoming a real obsession for the one who loses them.
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Ikäheimo, Janne, and Tiina Äikäs. "The Site of a Film Set as Material Heritage." VIEW Journal of European Television History and Culture 8, no. 15 (October 27, 2019): 46. http://dx.doi.org/10.18146/2213-0969.2019.jethc164.
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Rauta-aika (The Age of Iron, 1982), a four episode TV-series produced by YLE – the Finnish Broadcasting Company, transported the audience into a world of fantasy by successfully mixing the Finnish national epic Kalevala with elements of the local Iron Age. This paper focuses on the dismantled film set of the Pohjola village at the Seinävuori Hill in Hämeenkyrö, documented using archaeological methods in 2012, from the perspective of material heritage. While the remains visible today at the Seinävuori Hill are scarce, they continue to give a context for various meanings and experiences assigned to this place in the recent and more distant past and hence impact the heritagisation of the place.
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Trofymenko, Anastasiia. "Literary Time Travel Devices in the Epic Novel «The Dark Tower» by Stephen King." LITERARY PROCESS: methodology, names, trends, no. 21 (2023): 96–102. http://dx.doi.org/10.28925/2412-2475.2023.21.11.
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The article is devoted to the analysis of the literary time travel devices in the epic novel “The Dark Tower” by Stephen King, as an element of revealing the theme of apocalypse. Literary time travel devices and their use in the work are analysed, and parallels are drawn between the main motive of the work, the destruction of the world, and the temporal forms implemented in the work. In the horror genre, the Gothic chronotope underwent transformative and mutational changes, leaving behind only the generalized meaning of a certain continuum and the importance of the separation the space of the unfolding of the story from the general literary world of the work, in order to create a conditional vacuum. of Since its inception, the horror genre has been constantly undergoing transformations under the influence of the era in which it is changing. According to J. F. Lyotard, the transition from modernism to postmodernism begins at the end of the 50s of the 20th century, asserting that there is a reorientation in human consciousness from materialism to informatization. Postmodernism creates in the worldview of a person an orientation associated with such units as anxiety, irrationality and powerlessness. This is primarily related to the loss of faith in the urgent values of the era of modernism, the idea of reason, progress, and the emancipation of the individual. In horror literature, there is a modification phenomenon of merging two genres from different types of literature, in particular horror and fantasy. The hyperreality, that we outline, is a symbiotic metagenre technique that develops by combining elements of the horror genre and the dark fantasy metagenre. For example, most of S. King’s works have common citations, mentions of characters, events, locations, mentions, etc., as an element of creating a general “superchronotope” of the author’s literary world, thus creating for the reader a massive literary world as close as possible to the real one, but with idiosyncratic, genre elements. In this way, the motif of relentless apocalypse develops in the canvas of S. King’s works, which is most powerfully concentrated in the epic novel “The Dark Tower”. The results of this research may in the future constitute a component of intelligence on mass literature.
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Induráin, Carlos Mata. "Excesos, desmesuras y extravagancias en una novelesca recreación cervantina: El Príncipe de los Ingenios Miguel de Cervantes Saavedra (c. 1876–1878) de Manuel Fernández y González." Cervantes 42, no. 1 (March 2022): 151–73. http://dx.doi.org/10.3138/cervantes.42.1.151.
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Manuel Fernández y González (1821-1888), a true professional of serial novels, wrote several works related to Cervantes: the epic poem La batalla de Lepanto, and among others, the novel El Príncipe de los Ingenios Miguel de Cervantes Saavedra, an extensive work of 1,300 pages published c. 1876-1878. This essay focuses on this novel, which can be considered, in all its excess, as a magnificent example of the overflowing fantasy and unbridled verbosity of the novelist. The analysis identifies and comments on the elements of Fernandez y Gonzalez's excesses: interspersed stories full of unlikely episodes, multiplication of secondary characters, all kinds of digressions, techniques used by serial novelists such as the “abuse of the new paragraph” to fill more and more pages, etc.
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Holzapfel, Otto, Bo Almqvist, Seamas O. Cathain, and Padraig O. Healai. "The Heroic Process. Form, Function and Fantasy in Folk Epic. The Proceedings of the International Folk Epic Conference University College Dublin, 2-6 September 1985." Jahrbuch für Volksliedforschung 33 (1988): 204. http://dx.doi.org/10.2307/847800.
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Chaudhury, Arkabrata, and Arunoday Chaudhuri. "How Not to Play an Indian Mythic: Raji: A Modern Fantasy." CyberOrient 17, no. 1 (June 2023): 38–69. http://dx.doi.org/10.1002/cyo2.36.
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AbstractThe current paper analyses the video game Raji: An Ancient Epic (Nodding Head Games 2020) to determine the accuracy of its representation of historical Indian experiences, in the domains of architecture, aesthetics, spatiality, technology, and so on. The ludic elements of the game, including weapon or enemy design and their compatibility with reflecting an Indian ethos in video game mechanisms have also been discussed. The treatment of Indian mythology is extensively explored, with an eye to locating its space in Indian mythic tradition. Through an analysis of narrative storytelling in the game, aspects such as the foregrounding of a female protagonist and the apparent progressive feminist attitude of the game have been scrutinised. The sociocultural depiction of India and its implications and contexts relating to contemporary understanding of the space of the subcontinent has also been taken into consideration. A careful study of the game within the contemporary post‐colonial discourse constitutes a part of the article. We also undertake a comparative study with another Indian mythic video game, Unrest (Pyrodactyl 2014), to better understand the issues surrounding the treatment of mythic and historical elements. The article both contemplates the missed opportunities and future potentials, for example, in terms of more nuanced and accurate representation and the balance between ludic execution and representational possibilities, as experienced in the ludo‐narrative experience offered by the game.
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Sokolov, Arkadiy V. "Humanistic Legacy of N.A. Rubakin in the Context of Digital Noosphere Phenomenon." Bibliotekovedenie [Russian Journal of Library Science] 69, no. 1 (March 11, 2020): 7–19. http://dx.doi.org/10.25281/0869-608x-2020-69-1-7-19.
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Publication of the book by Y.N. Stolyarov “Returned Rubakin” is an extraordinary event in the domestic book culture. It is a bibliological epic, characterized by extensive social background and the variety of characters of the Russian Silver Age (the end of the 19th — the first third of the 20th century). At the same time, this book is a scientific biography of the classic of book business and a valuable contribution to the bibliological biography studies. The author concludes that prerequisites have ripened for the formation of bibliological biography studies that generalize the human studies of library scientists, bibliography scientists and book scholars. Ideological position of the epic “Returned Rubakin” is expressed by the thesis: book is the means of cultivating intelligentsia. Traditionally, intelligentsia was understood in Russia as a reasonable, educated, mentally developed part of population. The article considers the concept of intelligentsia put forward by N.A. Rubakin. This concept embodies the ethical ideal of humaneness — the intellectual scribe of the Silver Age. The author concludes with a futurological fantasy: N.A. Rubakin in the digital noosphere. The article discusses the following issues: artificial intelligence in the service of bibliopsychology; man is a captive of artificial intelligence; the hypothetical realm of inhumanity; biography studies of humaneness.
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Wolff, Nathan. "“It’s People in the Swamp”: Du Bois against the Democracy of Things." American Literary History 35, no. 1 (February 1, 2023): 81–96. http://dx.doi.org/10.1093/alh/ajac159.
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Abstract W. E. B. Du Bois’s first novel, The Quest of the Silver Fleece (1911), which has been called a “spiritual epic of cotton,” was inspired by Frank Norris’s “epic of wheat” The Octopus (1901), though the connection is rarely explored. This essay argues that Du Bois offers a crucial critique of Norris’s novel, specifically in contesting the ways Norris naturalizes capitalist exploitation by depicting the nonhuman power of the wheat and the railroad as the plot’s prime movers. Du Bois’s exposure of the forces allied against Black political power in the rural South and in the nation’s capital, and his utopian vision of collective world-building, offers an insistently human-centered rebuttal to Norris’s vitalist fantasy of salvific wheat. In so doing, Du Bois helps expose the limitations of, and model alternatives to recent calls by critics (aligned with New Materialism, Actor-Network Theory, and Object-Oriented Ontology) for a “parliament of things” or a “democracy of objects”—related claims for the supposed political radicalism of according nonhuman and human agents equal weight.“For Du Bois, the nonhuman world . . . may well have a kind of animacy, but its power is too tightly entwined with racial capitalism for it to serve as a democratizing check on human power run amok.”
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Kolesnik, A. S. "Warriors of Steel: Representations of Machinery and Technology in British Heavy Metal of the 1980s." Art & Culture Studies, no. 4 (December 2021): 362–81. http://dx.doi.org/10.51678/2226-0072-2021-4-362-381.
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The New Wave of British Heavy Metal is a remarkable phenomenon in British cultural history of the 1980s. Trying to identify themselves and to indicate their reaction to the social and political context in the UK, young musicians turned to the representation of fantastic worlds. The language of the “fantastic” in early British heavy metal was primarily associated with themes of mechanization, heroics, epics, mythology, fantasy and science fiction. The musical form was often emphatically epic and majestic, designed to create an audio picture to the lyrics. Visual representations — large-scale, spectacular, often theatrical live performances — played an important role in the representation of the “fantastic”. The semiotic element consisted of the signs and symbols of heavy metal (mascots, occult themes, mythological creatures, technocratic motives), which were reflected not only in the design of album covers and the metal bands names, but also in the clothes and behavior of musicians and their fans. The paper examines the specifics of the fantastic language of the New Wave of British Heavy Metal bands and, first of all, the representation of technogenic motives: how machines and robots were depicted, what techniques were used to create machine soundscapes, how this topic was played up within live performances, and finally, what cultural significance did references to machines and technology have.