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Books on the topic 'Fantasy conventions'

Author: Grafiati

Published: 24 April 2022

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1

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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2

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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3

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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4

Young Adult Fantasy Fiction: Conventions, Originality, Reproducibility. Cambridge University Press, 2019.

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5

Bloch, Robert, and T. Klein. First World Fantasy Convention. Necronomicon Press, 1987.

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6

The First World Fantasy Convention: The Interviews. Tsathoggua Press, 1995.

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7

JONES, Stephen (ed). Flotsam fantasique: The souvenir book of world fantasy convention 2013. World Fantasy Convention, 2013.

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8

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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9

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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10

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.

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11

Gerstle, C. Andrew. Circles of Fantasy: Convention in the Plays of Chikamatsu (Harvard East Asian Monographs). Harvard University Asia Center, 1996.

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12

Nancy, Kilpatrick, and World Fantasy Convention (2001), eds. World fantasy convention, 2001: A retrospective = Congrès mondial du fantastique, 2001 : je me souviens. Montréal, Quebec: Amtech, 2001.

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13

Kitty Steals the Show. Tor, 2012.

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14

Head, Matthew. Fantasia and Sensibility. Edited by Danuta Mirka. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.001.

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Fantasia and sensibility are not like other topics. Composed and improvised in all shapes and sizes, fantasias are not reducible to a single type of material. The fantasia was a host genre, a context of topical play, incorporating a range of stylistic and generic references. The frequent use of passages inspired by accompanied recitative and aria reveals an affinity with opera seria. The idea that the fantasia influences other genres is prominent in music criticism only after 1800 and represents an idealist trope foreign to much of the eighteenth century. Sensibility, though thematized in scenes of musical pathos and tenderness which display stylistic commonalities through a range of conventional materials, was not a musical style but a capacity for refined emotional response and sympathetic identification broadly relevant to the project of aesthetics and the fine arts.

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15

Ross, Stephen J. Out of the Endless Bathos. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198798385.003.0004.

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This chapter surveys the “other tradition” within Ashbery’s oeuvre: “bad” poetry. It argues that Ashbery’s courting of “badness”—understood, in quotation marks, to refer to intentional failure, or what Susan Sontag calls “the good taste of bad taste” in “Notes on Camp”—mounts a critique of the very foundations of value judgment in the arts. Ashbery’s “bad” nature poems, in particular, overturn normative standards of value established by the New Criticism and replace them with a “new bathos” that also evades avant-garde norms of experimental rigor. “Bad” nature poems such as “Variations, Calypso, and Fugue on a Theme of Ella Wheeler Wilcox” and “I Saw No Need” transform the kitschy nature of so many conventional nature poems into an object of potent critique, allowing Ashbery to write against and to “queer” the avant-garde fantasy that art can become nature.

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16

Coovadia, Imraan. Revolution and Non-Violence in Tolstoy, Gandhi, and Mandela. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198863694.001.0001.

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The dangers of political violence and the possibilities of non-violence were the central themes of three lives which changed the twentieth century—Leo Tolstoy, writer and aristocrat who turned against his class; Mohandas Gandhi, who corresponded with Tolstoy and considered him the most important person of the time; and Nelson Mandela, prisoner and statesman, who read War and Peace on Robben Island and who, despite having led a campaign of sabotage, saw himself as a successor to Gandhi. Tolstoy, Gandhi, and Mandela tried to create transformed societies to replace the dying forms of colony and empire. They found the inequalities of Russia, India, and South Africa intolerable, yet they questioned the wisdom of seizing the power of the state, creating new kinds of political organization and imagination to replace the old promises of revolution. Their views, along with their ways of leading others, are closely connected, from their insistence on working with their own hands and reforming their individual selves to their acceptance of death. On three continents, in a century of mass mobilization and conflict, they promoted strains of nationalism devoid of antagonism, prepared to take part in a general peace. Looking at Tolstoy, Gandhi, and Mandela in sequence, taking into account their letters and conversations, as well as the institutions they created or subverted, placing at the centre their treatment of the primal fantasy of political violence, reveals a vital radical tradition which stands outside the conventional categories of twentieth-century history and politics.

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