Academic literature on the topic 'Fantasy conventions'
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Journal articles on the topic "Fantasy conventions"
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Williams, Annabel. "Fantasias on National Themes: Fantasy, Space, and Imperialism in Rebecca West." Twentieth-Century Literature 66, no. 4 (December 1, 2020): 405–30. http://dx.doi.org/10.1215/0041462x-8770673.
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This article argues that Rebecca West’s sustained scrutiny of imperialism tends to coincide with her theoretical and formalist approaches to fantasy, and from this arises literary innovation significant both to modernist and late modernist contexts. It demonstrates that West’s creative achievement in Harriet Hume (1929), which partially adapts the conventions of other middlebrow and modernist fantasy literature of her day, is usefully read in conjunction with her assessment of interwar geopolitics, and especially her interest in the collective, sociopolitical fantasies that gather around contested national spaces. Furthermore, in Harriet Hume West elaborates a rhetoric of fantasy—stylistically whimsical, and ideologically what might be called a fantasia on national themes—that was elevated to new importance a decade later in her archetypal attack on imperialism, the Balkans travelogue Black Lamb and Grey Falcon (1941).
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Ivanova, Elizaveta A. "TRANSFORMATION OF TRADITIONAL FANTASY CHARACTERS IN JOE ABERCROMBIE’S ‘THE FIRST LAW’ TRILOGY." Вестник Пермского университета. Российская и зарубежная филология 13, no. 1 (2021): 90–98. http://dx.doi.org/10.17072/2073-6681-2021-1-90-98.
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Joe Abercrombie is a prominent contemporary British author famous for working in such a currently popular branch of fantasy as grimdark. The characteristic feature of Abercrombie’s novels is a conscious play with conventions, traditions and clichés of classical fantasy. This article is devoted to analysis of some central figures of Abercrombie’s The First Law trilogy: infamous warrior Logen Ninefingers, young nobleman Jezal dan Luthar, inquisitor Sand dan Glokta, and Bayaz, First of the Magi. The study aims to reveal, through comparison with classical models, how the mentioned characteristic feature of Abercrombie’s books manifests itself at the level of character development. The analysis shows that for creating his characters Abercrombie employs classical archetypes (a wise mentor, a young protagonist on a long journey to find treasure), which have roots, as much as fantasy literature itself, through adventure fiction and chivalric romance, in the fairy tale and mythos. However, in distinction from the authors of classical fantasy such as J.R.R. Tolkien and his numerous less talented followers, Abercrombie fills the characters who impersonate those archetypes in his works with psychological content that is not in accord with or even contradicts their traditional plot functions. Moreover, the writer changes and transforms the meaning of those functions, thus creating a complex, shadowy realistic image of his grimdark fantasy world instead of an optimistic fairy-tale one typical of earlier fantasy books. Abercrombie’s characters are not only realistic and impressive, they are built upon a three-element structure, more complex than that of characters in classical fantasy, which demonstrates the development of this kind of literature in general.
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Kovlekov, Kirill Ivanovich. "Author’s Image Representation in Frame Components and Conventions of the Japanese Reincarnation Fantasy." Filologičeskie nauki. Voprosy teorii i praktiki, no. 11 (November 2020): 78–82. http://dx.doi.org/10.30853/filnauki.2020.11.17.
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Lovell-Smith, Rose. "Peter, Potter, Rabbits, Robbers." Papers: Explorations into Children's Literature 19, no. 1 (January 1, 2009): 17–29. http://dx.doi.org/10.21153/pecl2009vol19no1art1154.
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Critical discourses about realism and fantasy in children's literature have in the past included discussion of the merits, and demerits, of these conventions as they differently engage child readers. Beatrix Potter's works, situated at an intersection of the two literary conventions, seem to me rather to invite a useful complication of the distinction commonly made between them. Potter is clearly a fantasist. Yet aspects of her work support a scholarly tendency to claim her for realism, and this is often done by connecting Potter's life and works. In this essay I join those who have turned Potter studies towards investigating the cultural and literary contexts within which she worked.
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Newton-Francis, Michelle, and Gay Young. "Not winging it at Hooters: Conventions for producing a cultural object of sexual fantasy." Poetics 52 (October 2015): 1–17. http://dx.doi.org/10.1016/j.poetic.2015.06.003.
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Baltodano Román, Gabriel. "Versos y reversos: a propósito de la voluntad, la lectura y el Quijote." LETRAS, no. 39 (January 30, 2006): 27–46. http://dx.doi.org/10.15359/rl.1-39.2.
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Se describen y analizan ciertos procedimientos de la escritura cervantina, que ponen en entredicho el relato como discurso. Se muestra que en el Quijote aparecen los fundamentos estético-ideológicos que plantean la ambigüedad entre ficción y realidad; entre verosimilitud y fantasía; entre lectura y parodia. La lectura, en el interior de la novela, se convierte en un acto de voluntad de hacer de la ficción una aventura contra lo establecido y lo convencional; no hay un discurso único, sino voces heterogéneas que comparten el saber.A description is provided of certain procedures found in Cervantes writing, which question the story as discourse. It is shown that in Don Quixote there are esthetic and ideological foundations which suggest the ambiguity existing between fiction and reality; between verisimilitude and fantasy; between reading and parody. Reading, within the novel, becomes the willingness to convert fiction into an adventure going against cultural conventions; there is not just one line of discourse, but rather a number of heterogeneous voices that share knowledge.
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Piechota, Dariusz. "Długie trwanie wieku XIX – (pop)kulturowe rekonstrukcje przeszłości w najnowszej fantastyce." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 52, no. 3 (December 13, 2021): 243–58. http://dx.doi.org/10.36770/bp.632.
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Contemporary popular culture eagerly returns to the era of steam and electricity. The pop-culture imagery of the nineteenth century functions in two variants (realistic and fantastic) and takes the form of intertextual games, providing material for postmodern collages and remixes. New genres, such as steampunk and mashup, were quickly adapted and modified by Polish writers. Victorians were replaced by positivists who saw modern inventions as an effective weapon in the fight against the invaders. In addition to works presenting an alternative history of the January Uprising, fantasy authors eagerly refer to the works of Bolesław Prus. The further fate of The Doll appears both in the steampunk and mashup conventions. An interesting realization of the mashup is also the anthology Other worlds, inspired by the works of Jakub Różalski, which combine fantasy with realistic poetics straight from the paintings of Józef Chełmoński. In the alternative world of Polish graphics there appear monstrous machines, characters from another dimension (like dwarfs).
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Civil, Gabrielle, and Zetta Elliott. "Opening Up Space for Global Black Girls." Departures in Critical Qualitative Research 6, no. 3 (2017): 11–33. http://dx.doi.org/10.1525/dcqr.2017.6.3.11.
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In this innovative dialogue, Gabrielle Civil and Zetta Elliott consider how their work inside and outside of the academy “opens up space” for Black girls in the United States and throughout the African diaspora. In her performance art and curation, Civil activates the presence and absence of diasporic Black girls and celebrates their creative potential. In her books for young readers, Elliott disrupts literary conventions by centering Black girl protagonists and using the fantasy genre not for escape but empowerment. Linking the critical and creative, this dialogue showcases reflection and embodied knowledge of Black girls and women.
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Scullion, Val, and Marion Treby. "The Romantic Context of E. T. A. Hoffmann’s Fairy Tales, The Golden Pot, The Strange Child and The Nutcracker and the Mouse King." English Language and Literature Studies 10, no. 2 (April 16, 2020): 40. http://dx.doi.org/10.5539/ells.v10n2p40.
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As diaries, letters and the intensive intertextuality of his prose fiction show, the German Romantic writer and composer, E. T. A. Hoffmann (1776-1822), was an obsessive bibliophile and polymath. The aim of this article is to explore how far three of his literary fairy tales, The Golden Pot: A Modern Fairy Tale (1814), The Strange Child (1816) and The Nutcracker and the Mouse King (1816), use the generic conventions of the fairy tale, and how far they are influenced by his voracious reading, his encyclopaedic knowledge of literature, and his engagement with contemporary debates. We conclude with brief observations about his literary legacy in the genres of fairy tales and fantasy fiction.
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Soedjono, Soeprapto. "Fotografi Surealisme Visualisasi Estetis Citra Fantasi Imajinasi." REKAM 15, no. 1 (April 1, 2019): 1–12. http://dx.doi.org/10.24821/rekam.v15i1.3341.
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ABSTRAKSebagaimana yang terjadi pada ranah seni sastra dan seni rupa, pengaruh surealisme sebagai moda artistik penciptaan karya seni, ternyata juga memengaruhi perkembangan bentuk dan genre baru di ranah fotografi. Sebagai bagian dari upaya-upaya penciptaan karya kreatif fotografis, beberapa fotografer menggunakan berbagai aspek dalam domain fotografi untuk juga bisa menampilkan karya-karya yang bernuansa surréal dan terkesan bersifat surealistis dengan berbagai teknik-teknik penciptaan visualnya. Prinsip-prinsip surealisme yang berkaitan dengan upaya memadukan elemen visual yang nyata dan yang bersifat tidak nyata (virtual, dream-like, fantasy) dalam karya-karya fotografi merekamenghasilkan sebuah fenomena ‘keraguan’ dalam menyikapi karya fotografinya. Hal ini terjadi karena yang selama ini karya fotografi diyakini sebagai medium penghasil karya seni visual yang nyata/realis dan merupakan satu bentuk representasi realitas yang faktual telah menjadi ‘ragu’ terhadap hasil karya fotografi surrealistic yang diciptakannya.Visualisasi bentuk-bentuk yang riil tertampilkan bertentangan dengan kelayakan konvensi logika visual alamiah realisme media fotografi yang ada. Namun, secara artistik tentunya kehadiran fotografi surealistik ini bisa dijadikan sebagai salah satu upaya alternatif penampilan visual karya seni fotografi yang ekspresif. Dalam arti bahwa ranah fotografi juga memiliki moda ungkapan ekspresif estetik yang juga memiliki kemungkinan untuk mengekplorasi aspek-aspek dunia mimpi bawah sadar, fantasi, yang bernuansa simbolisme visual dalam kancah pengembangan budaya visual yang bernilai ‘nyata - tidak nyata’. Surrealism Photography: Aesthetic Visualization of the Imagination Fantasy Imagery. As appeared in the sphere of literary and fine arts, the influence of surrealism as an artistic mode for the creation of works of art, apparently it also influences the development of new forms and genres in the sphere of photography. As part of the efforts to create photographic creative works, some photographers use various aspects in the photographic domain to also be able to present works which are surreal in nature and seem surrealistic in their various visual creation techniques. The principles of surrealism are associated with the attempts to combine visual elements which are real and not real (virtual, dream-like, fantasy) in photography works produce a phenomenon of ‘doubt’ in addressing the photographic work. This happens because all this time photography is believed to be a medium that produces visual art works that are real or realistic and is a form of factual reality representation which has become ‘doubtful’ of the surrealistic photographic works that it creates. The visualization of the real forms that appear is contrary to the feasibility of the natural visual logic conventions of the realism of the existing photographic media. However, artistically, the presence of this surrealistic photography can be used as an alternative attempt for the visual appearance of expressive photographic artworks. In the sphere of photography, it makes sense that it has an aesthetic expressive mode of expression which also has a possibility to explore the aspects of the subconscious self, fantasy, having the nuance of visual symbolical in the domain of developing visual culture which could be valued as ‘real-not real’.
Dissertations / Theses on the topic "Fantasy conventions"
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Pastore, Margherita. "Fantômes et fantasmes dans le théâtre "réaliste" d'Eduardo De Filippo." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA016.
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Ce travail de recherche vise à mettre au jour un aspect particulier de l’œuvre d’Eduardo De Filippo (Naples, 1900 – Rome, 1984), à savoir l’intrusion du surnaturel dans la production théâtrale de l’auteur-acteur-metteur en scène. Nous avons structuré notre thèse en deux phases. Nous analysons d’abord l’adhésion de De Filippo au théâtre dit “réaliste”, sa conception de la fonction du théâtre, l’ancrage thématique dans l’Histoire du XXe siècle et dans le vécu personnel de l’auteur ; nous nous attachons à la manière dont De Filippo intègre la tradition littéraire et théâtrale du XXe siècle et propose une autre vision du réel faisant appel aux catégories du fantastique. Puis nous examinons l’espace scénique, lieu de l’ailleurs et du fantasme par excellence, dans les différentes composantes de la scène (scénographie, objets), du jeu actoriel (la parole, la corporéité, le personnage et le fantôme) et du contrat spectatoriel pour mettre en lumière la relation que tous les participants au spectacle entretiennent avec le surnaturel. Enfin, nous mettons à l’épreuve de l’analyse la traduction sur scène des problématiques liées au fantôme et au fantasme dans deux interprétations exemplaires et très différentes de La grande magia : celle de Giorgio Strehler au Piccolo Teatro de Milan en 1985 et celle de Dan Jemmett à la Comédie-Française en 2009This research work focuses on a specific point of Eduardo De Filippo’s work (Naples, 1900 – Rome, 1984), that is to say the irruption of the supernatural in the production of the author-actor-stage director. We have structured our thesis in two phases. We first analyse the authors’s compliance with the so called « realistic » theatre, his vision of the role of theatre, the thematic foothold in the 20th century history and in his personal experience ; we are concerned with how De Filippo integrates the literary and theatrical tradition of fantasy and offers a realistic vision appealing to the Fantastic categories. Then we investigate the stage space as an ideal place for fantasy and fantasies, we examine the stage varied components (stage design, objects), the acting of the actors (voice, corporeality, the character and the ghost) within the stage-audience conventions to bring to light the particular link that all those who participate to the performance maintain with the supernatural. Finally, we study the process of traduction on stage of problematics linked to ghost and fantasy in two remarkable and very different interpretations of La Grande magia : the one by Giorgio Strehler at the Piccolo Teatro of Milan in 1985 and one by Dan Jemmett at Comédie-Française in 2009
Books on the topic "Fantasy conventions"
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Berger, Lou, and Kate Kaynak. Unconventional: Twenty-two tales of paranormal gatherings under the guise of conventions. Contoocook, NH: Spencer Hill Press, 2012.
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Gerstle, C. Andrew. Circles of fantasy: Convention in the plays of Chikamatsu. Cambridge, Mass: Council on East Asian Studies, Harvard University, 1986.
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World Fantasy Convention (17th 1991 Tucson, Ariz.). The 1991 World Fantasy Convention: Featuring the fantasy heritage of the Spanish and Indian culture : special guests, Susan and Harlan Ellison : guests, Stephen R. Donaldson, Arlin Robins. Tucson, Ariz: The Convention, 1991.
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Young Adult Fantasy Fiction: Conventions, Originality, Reproducibility. Cambridge University Press, 2019.
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Bloch, Robert, and T. Klein. First World Fantasy Convention. Necronomicon Press, 1987.
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JONES, Stephen (ed). Flotsam fantasique: The souvenir book of world fantasy convention 2013. World Fantasy Convention, 2013.
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Stonebridge, Lyndsey. Reading Statelessness. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198797005.003.0002.
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Hannah Arendt’s analysis of the failure of human rights to address statelessness is well known. Less commented upon is how important literature was to her thought. This chapter shows how Arendt’s 1940s essays on Kafka connect the history of the novel to shifting definitions of legal and political sovereignty. Arendt reads The Castle as a blueprint for a political theory that is also a theory of fiction: in the novel K, the unwanted stranger, demolishes the fiction of the rights of man, and with it, the fantasy of assimilation. In a parallel move, Kafka also refuses to assimilate his character into the conventions of fiction. Arendt’s reading changes the terms for how we might approach the literature of exile and of human rights.
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Waddell, Nathan. Moonlighting. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198816706.001.0001.
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How and why did the life and music of Ludwig van Beethoven (1770–1827) matter to experimental writers in the early twentieth century? Previous answers to this question have tended to focus on structural analogies between musical works and literary texts, charting the many different ways in which poetry and prose resemble Beethoven’s compositions. This book takes a different approach. It focuses on how early twentieth-century writers—chief among them E. M. Forster, Aldous Huxley, Wyndham Lewis, Dorothy Richardson, Rebecca West, and Virginia Woolf—profited from the representational conventions associated in the nineteenth century and beyond with Beethovenian culture. The emphasis of Moonlighting falls for the most part on how modernist writers made use of Beethovenian legend. It is concerned neither with formal similarities between Beethoven’s music and modernist writing nor with the music of Beethoven per se, but with certain ways of understanding Beethoven’s music which had long before 1900 taken shape as habit, myth, cliché, and fantasy, and with the influence they had on experimental writing up to 1930. Moonlighting suggests that the modernists drew knowingly and creatively on the conventional. It proposes that many of the most experimental works of modernist literature were shaped by a knowing reliance on Beethovenian consensus; in short, that the literary modernists knew Beethovenian legend when they saw it, and that they were eager to profit from it.
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Jones, Tanya. Studying Pan's Labyrinth. Liverpool University Press, 2010. http://dx.doi.org/10.3828/liverpool/9781906733308.001.0001.
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Pan's Labyrinth (2006) is a film of extraordinary technical achievement and intense emotional impact, garnering acclaim from both critics and audiences alike. Such a rich cinematic text demands close scrutiny and comprehensive study. This book begins with a close study of Pan's Labyrinth as a very challenging piece of film-making. It talks about Pan's Labyrinth's stunning visual beauty, haunting lullaby theme that evoke the tragedy of the protagonist Ofelia, and masterful combination of fantasy and horror conventions to produce a barbed, threatening, but beautiful, cinematic landscape. The book guides the reader through a detailed analysis of the film, concentrating on the generation of meaning for the viewer. It maps technical choices and how they capture human experience and political conflict. It also details the processes of production, distribution, and exhibition. Specific examples from a range of film texts enable a vivid grasp of technical vocabulary, therefore providing readers with the tools to analyze other films as well.
Book chapters on the topic "Fantasy conventions"
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Thompson, Ryan. "Operatic Conventions and Expectations in Final Fantasy VI." In Music in the Role-Playing Game, 117–28. New York ; London : Routledge, 2019. | Series: Routledge music and screen media series: Routledge, 2019. http://dx.doi.org/10.4324/9781351253208-8.
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"Musical Conventions." In Circles of Fantasy, 13–37. BRILL, 1986. http://dx.doi.org/10.1163/9781684172504_003.
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Ahmed, Maaheen. "Fantasy and Science Fiction." In Openness of Comics. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496805935.003.0005.
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This chapter describes and analyzes books where fantasy is the dominant element and acquires vivid degrees of visuality. Adhering to a chronological order, analyses of Moebius’ Arzach, Enki Bilal’s Nikopol trilogy, and Yslaire’sXXeCielare carried out and concluded by comparisons between these works and other popular examples of fantastic comics. In order to underscore the degrees of openness between comics generated by images, JarmoMäkilä’sTaxi Ride through Van Gogh’s Earis then discussed. The importance of Moebius’ books comes through their visual detail and the subsequent encouragement of intensive visuality and experimentation with form usually ascribed to the fine arts. The comics by Bilal, Yslaire, and Mäkilä indicate both the extent and the ways in which conventional comics have been altered:adhering more strongly to comics conventions, Bilal’s and Mäkilä’s comics offer diverse options of interpretation through, for instance, intertextual and intermedial references.
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Lamerichs, Nicolle. "Embodied Fantasy: The Affective Space of Anime Conventions." In The Ashgate Research Companion to Fan Cultures, 263–74. Routledge, 2016. http://dx.doi.org/10.4324/9781315612959-20.
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Sutherland, Doris V. "Horror and Fantasy in The Mummy." In The Mummy, 73–86. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325956.003.0006.
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This chapter explores the horror and fantasy in The Mummy (1932). Universal Pictures' treatments of the vampire and werewolf themes had specific bodies of folklore to draw upon for inspiration, but as The Mummy featured what was for all intents and purposes a new variety of monster, the studio had a blank slate. The film not only introduced audiences to the living mummy Imhotep but also transported them to an entire world of gods, magic, and curses. As well as taking inspiration from weird fiction and popular Egyptology, The Mummy frequently uses contemporary horror films as reference points, synthesising both old and new to create the latest movie monster. In doing so, it established most of the conventions that would be re-used in later mummy films.
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Bishop, Chris. "Conan the Barbarian (1970)." In Medievalist Comics and the American Century. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496808509.003.0005.
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With the chapter on Conan the Barbarian, the focus of this study shifts away from the inter-translation of this earlier medievalism towards the establishment of the mythopoeic visions that dominate medievalist discourse today. Robert E. Howard’s pulp-fiction heroes were born out of his experiences in the flint-hard mining towns of Depression-era Texas and out of his desire, perhaps, to escape them. This chapter will contextualize that work within a greater analysis of fantasy literature, focusing in particular on the inter-relationship of Howard’s creations with those of J. R. R. Tolkien, and with the genesis of new and immersive fan experiences that included comic conventions, costume-play and fantasy role-playing games.
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Lamerichs, Nicolle. "A Donut for Tom Paris: Identity and Belonging at European SF/Fantasy Conventions." In Science Fiction Double Feature, 143–58. Liverpool University Press, 2015. http://dx.doi.org/10.5949/liverpool/9781781381830.003.0010.
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Franco, Claudio Pires. "Weaving Nature Mage." In Advances in Multimedia and Interactive Technologies, 209–33. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0477-1.ch012.
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This chapter is based on the analysis of previous cross-media game adaptations, on empirical research, and on reflection on practice with the design of a game concept for a fantasy book. Book-to-game adaptations are particularly interesting examples of cross-media adaptation. They not only weave the literary source text with intertexts from the game medium, but also require a modal transposition from the realm of words to a visual, interactive, multimodal medium where narrative and ludic logics intersect. This study proposes to look at different layers of cross-media intertextuality in the process of adaptation - at the level of specific texts, at the level of medium conventions, and at the level of genre conventions. It draws on crowd-sourcing research with readers to demonstrate that collaboration operates through multi-layered processes of collective intertextuality through which the intertextual repertoires of individuals meet to weave a final text.
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Reid, Robin Anne. "The History of Scholarship on Lois McMaster Bujold’s Science Fiction and Fantasy." In Biology and Manners, 13–32. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621730.003.0002.
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This chapter provides a comprehensive and chronological bibliographic survey of scholarship on Lois McMaster Bujold from 1995 onwards. The chapter is structured chronologically to show changes in the scholarship on Bujold’s work and, in addition, includes selected online articles to demonstrate that Bujold’s readers are engaged with the same issues as the academics: genre, gender politics, and feminisms. The chapter shows the broad areas of scholarly consensus that exist: primarily, the agreement that Bujold’s work subverts, reverses, or complicates the genre conventions of space opera, military sf, and medievalist fantasy. The primary area of disagreement is shown to be the question of feminism in her work. The chapter is explicitly feminist in that the scholar writing the essay is a feminist specializing in feminist and gender theories and speculative fiction who applies those intellectual frameworks in this essay. It therefore pays close attention to citation practices, and puts on record the extent to which the first work on Bujold’s science fiction and fantasy was done by women scholars working in disability, feminist, and gender studies as well as the extent to which their work makes up the majority of the current scholarship.
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Keymer, Tom. "Introduction." In Jane Austen: A Very Short Introduction, 1–9. Oxford University Press, 2022. http://dx.doi.org/10.1093/actrade/9780198725954.003.0001.
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‘Introduction’ provides an overview of Jane Austen and her works. Today, Austen is one of the most securely established literary classics in English. One explanation for Austen’s global popularity lies in her capacity to speak directly to readers navigating elaborate social conventions or rule-bound environments. By focusing in most of her novels on heroines who occupy positions of socioeconomic disadvantage in relation to those around them, and on the difficulties presented to them by the assumptions, conventions, and practices of their worlds, Austen converts courtship fiction to purposes more critical than those of mere fantasy or celebration. Indeed, it is hard to read Austen without sensing the satirical charge that animates her fiction throughout. She is not a radical novelist like Mary Wollstonecraft or William Godwin; more interestingly, she is a novelist in whom an implicitly Tory world-view is frequently interrogated or disrupted by destabilizing ironies and irruptions of satirical energy that are no less real for the elegance and wit of their expression.
Conference papers on the topic "Fantasy conventions"
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Uya, Yifan. "Collaborative Vibration: The Mythic Journey of A Coal Boy." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.119.
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Acknowledging the Anthropocene crisis, my research examines myth and myth-making to reimagine the role of Claude Lévi-Strauss’ bricoleur concept. Following Joseph M. Coll’s Taoist and Buddhist systemic thinking inspired theory of sustainable transformation, the practice-led project evolves into the making of an essayist film that conveys a specific personal myth.My research reckons that a bricoleur should perceive myth-making as an organic growing organisation that acquires intuition and posteriori knowledge. And focus on a narrative that evolves into the mythic identity of a piece of coal and a bar-tailed godwit corresponding to designated oppositional values and semiotic assets. Apart from the practitioner works of Stan Brakhage, Chris Marker and Adam Curtis, my research also dives into Elysia Crampton Chuquimia, Howie Lee and Yaksha‘s musical languages to explore the other narrative possibilities when re-examining history in a socially conscious manner. As the film soundtrack is also part of the myth-making production. My practice-led project inevitably evolves into the subject of the self as the production presents a negotiation through metaphors and signifiers concerning memory, history and experience. The filmmaking echoes a search for the wisdom of self-acceptance. It adopts Stephen Yablo’s understanding of conceivability to generate and regenerate meaningful assets. Concepts are planted to grow into newer representations compromising posteriori knowledge and self-realisations, with informal syllogistic reasoning concerning the epistemological nature of imagination and the transformative structure of myth. The contextual knowledge of my research examines the subject of myth and myth-making through Jacques Lacan's theory of fantasy, Jungian analytical psychology and Claude Lévi-Strauss knowledge of structural linguistics. It adopts Lévi-Strauss’ canonical myth formula concerning the missing discussion of experience, community, and the wilder contexts of shamanology. Maurice Merleau-Ponty's phenomenological body and Martin Heidegger's thoughts on the philosophy of technology concerning the body-to-technology relation and the notion of symbolic light and darkness. With critics on the instrumentalist stance of technology and Rene Descartes's modal metaphysics concerning Arnold Gehlen’s conservative alert of mankind’s debased condition of modern existence, my research proposes that myth-making is a necessary altruistic form of social technology that can transform experience into wisdom. Acknowledging that will is the priority for behaviour change. The production examines the Dao of myth and myth-making as a specific technological answer to resolve David Attenborough's calling for a global transformation and collaboration in his book A Life of Our Planet. To further develop such a technology, my research seeks a systemic understanding of myth and myth-making. Therefore, my research hypothesis a wholistic and heuristic methodology, namely Daoist bricoleur. By experiencing a personal myth, I celebrate my Manchu and Chinese culture origin and the complexity of my upbringing. My research visits the endangered Manchu Ulabun storytelling tradition and reckons the film production rely on the structural establishment of critical mythic fragments founded on autobiography and social conventions. As a permanent resident of New Zealand born in a coal-mining town in eastern Inner Mongolia, China, with an unverifiable ancestral clan name related to Kangxi, Yongzheng and Qianlong Emperor of the Qing Dynasty and much more.