To see the other types of publications on this topic, follow the link: Fantasy conventions.
Journal articles on the topic 'Fantasy conventions'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Fantasy conventions.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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).
2
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.
Full textAbstract:
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.
3
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.
Full text
4
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.
Full textAbstract:
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.
5
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.
Full text
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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).
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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’.
11
Popova, G. V. "Organization of Artistic World of Fantastic Work: Categorical Concepts (dilogy of O. Gromyko “Year of Rat”)." Nauchnyi dialog, no. 9 (September 29, 2021): 200–216. http://dx.doi.org/10.24224/2227-1295-2021-9-200-216.
Full textAbstract:
The features of the organization of the artistic world of a fantastic work are considered. The material was the works of O. Gromyko, written in the genre of fantasy. The main parameters of the organization of the artistic world are analyzed: artistic space, artistic time and the picture of the heroes’ world, understood as a system of their value attitudes and rules. The relevance of the study is due not only to the wide popularity of works of science fiction, but also to the ability to analyze the linguistic means of creating a “secondary world” using this material. The scientific novelty of this work is seen in the fact that linguistic nominative means of forming the main categories of the artistic world: space, time and the picture of the world are investigated. It is shown that the understanding of a fantastic work as a special “otherness of reality” is associated in literary science with the problem of artistic convention. Attention is paid to the description of the main scientific approaches to understanding the primary and secondary artistic conventions. It is noted that the idea of creating a special artistic world in fiction correlates with secondary conventions and fiction, which are interpreted as essential features of any work of art. The author concludes that the exceptional plausibility of the universe under consideration is due to the conceptuality, associativity and duality of the created narrative.
12
Loveday, Leo John. "The sarcastic implicatures of an ambivalent villain: Dahl’s Willy Wonka." Language and Literature: International Journal of Stylistics 27, no. 2 (May 2018): 86–102. http://dx.doi.org/10.1177/0963947018766453.
Full textAbstract:
This study investigates the impoliteness of Willy Wonka, a leading character in the children’s fantasy novella Charlie and the Chocolate Factory, and probes into the workings of his sadistic innuendo. While the menacing undertones of Wonka’s verbal aggression simultaneously thrill and horrify, they also deserve an explanation that goes beyond their trite dismissal as the embodiment of schoolboy humour. This research applies a Gricean framework to Wonka’s sarcastic discourse to reveal his grotesque violation of the social conventions of conversation. It scrutinises his covert verbal abuse with the aim of demonstrating how pragmatic resources help to serve literary characterisation. The analysis demonstrates how Dahl meticulously exploits the tool of conversational implicatures in order to position Wonka as an ambivalent villain.
13
López Ramírez, Manuela. "Gothic Overtones: The Female Monster in Margaret Atwood’s “Lusus Naturae”." Complutense Journal of English Studies 29 (November 15, 2021): 103–13. http://dx.doi.org/10.5209/cjes.70314.
Full textAbstract:
In “Lusus Naturae,” Margaret Atwood shows her predilection for the machinations of Gothic fiction. She resorts to gothic conventions to express female experience and explore the psychological but also the physical victimisation of the woman in a patriarchal system. Atwood employs the female monster metaphor to depict the passage from adolescence to womanhood through a girl who undergoes a metamorphosis into a “vampire” as a result of a disease, porphyria. The vampire as a liminal gothic figure, disrupts the boundaries between reality and fantasy/supernatural, human and inhuman/animal, life and death, good and evil, femme fatale and virgin maiden. By means of the metaphor of the vampire woman, Atwood unveils and contests the construction of a patriarchal gender ideology, which has appalling familial and social implications.
14
Smith, Dina, Casey Stannar, and Jenna Tedrick Kuttruff. "Closet cosplay: Everyday expressions of science fiction and fantasy fandom among women." Fashion, Style & Popular Culture 7, no. 1 (January 1, 2020): 29–50. http://dx.doi.org/10.1386/fspc_00004_1.
Full textAbstract:
Abstract Some American science fiction and fantasy (SF&F) female fans participate in Cosplay or costume play, the global practice of dressing in costume and performing fictional characters from popular culture. Cosplay is typically only socially sanctioned at conventions and other fan events, leaving fans searching for new ways to express their fandom in everyday life. Closet cosplay is one solution in which everyday clothing and accessories can be worn to express fandom. The motivations for wearing everyday fan fashion have been only briefly mentioned by other authors or studied within limited social contexts. Therefore, the purpose of this research was to explore SF&F female fans' participation in closet cosplay as it is worn in everyday contexts. An exploratory qualitative study was conducted using a social interactionist perspective, and Sarah Thornton's concept of subcultural capital and Pierre Bourdieu's theory of cultural capital. Semi-structured, online interviews were conducted with sixteen participants who wore closet cosplay related to SF&F films and/or television series, which included Star Wars, Marvel Comics, DC Comics, Disney films, Harry Potter and anime fandoms like Sailor Moon (1995‐2000). The interview data were analysed using NVivo qualitative analysis software and the constant comparison method. Two themes emerged from the data: the definition of closet cosplay and motivations for wearing closet cosplay. Through examining these themes, it was evident that female SF&F fans used closet cosplay to express a salient fan identity, which enabled them to simultaneously gain subcultural capital and feminized cultural capital.
15
Sarha, Jennifer. "‘The Sultan’s self shan’t carry me’: Negotiations of harem fantasies in Byron’s Don Juan." Articles, no. 56 (March 8, 2011): 0. http://dx.doi.org/10.7202/1001094ar.
Full textAbstract:
Lord Byron’s Don Juan is a poem which depends on gendered literary traditions for both its originality and its intelligibility. In the harem episode of cantos V and VI, we can recognise a libertine fantasy, an Orientalist premise, and a picaresque adventure, but also some traces of epic, the gothic and literature of sensibility. Yet, these tropes are consistently complicated in the poem and used to undermine the gendered foundations of their traditions. This essay considers the formulation of such subversions through explicitly literary paradigms: what signs of gender are referred to, and how are they made intelligible as fictional constructs? By interrogating the use of gendered tropes, their formation as intelligible concepts within literary history, and their negotiations with sexualised conventions of narrative, I intend to highlight the discrepancies in the heteronormative construction of these literary paradigms and Byron’s use of them to suggest sexual fluidity.
16
Stein, Arlene, and Zakia Salime. "Manufacturing Islamophobia: Rightwing Pseudo-Documentaries and the Paranoid Style." Journal of Communication Inquiry 39, no. 4 (February 1, 2015): 378–96. http://dx.doi.org/10.1177/0196859915569385.
Full textAbstract:
Rightwing organizations in the United States have produced and circulated a number of videos which exaggerate the threat Islamic militants pose to ordinary citizens in the West. These videos owe a great deal to the frames established two decades earlier in religious right campaigns against homosexuality. This article provides a textual analysis of these videos and their production, showing how they manifest “heated exaggeration, suspiciousness, and conspiratorial fantasy,” which Richard Hofstadter characterized as the “paranoid style.” We term these films “pseudo-documentaries” because while they utilize some of the conventions of the documentary genre—claims to “fairness and accuracy,” the use of “experts,” and the incorporation of news footage, testimonies, and “facts”—they are produced by political interest groups and are expressly made to persuade and mobilize through distortion. A comparison of homophobic and Islamophobic videos reveals continuities in rightwing rhetoric, as well as strategic shifts, and indicates the emergence of an increasingly fragmented, pluralized, and privatized political sphere.
17
Michułka, Dorota. "Literature — history — education: Encounters with the past in contemporary Polish narratives for children and young adults." Oblicza Komunikacji 12 (June 24, 2021): 433–50. http://dx.doi.org/10.19195/2083-5345.12.30.
Full textAbstract:
The article discusses the ‘relationships’ that exist between literature, history and education in contemporary Polish narratives for children and young people. The historical literary works for young readers discussed in the text are strongly rooted in the concept of culture remembrance — they represent a variety of genres, a kind of modernist genre syncretism and hybrid forms, as well as a diverse type of narration. Walter Scott’s traditional historical novel model is mixed with narration maintained in the poetics of a story of a reflective character with a clearly exposed issue of the concept of time and setting (chronotope), and didactic short stories with elements of “dialogues with a thesis”. It is also worth noting that literary examples of playing with conventions using fantasy motifs. As has been shown, contemporary Polish literature on historical topics intended for children and young people as an element of historical education may constitute a specific cultural and social form of memory about people and events of the past years.
18
Guelfi, Maria Lúcia Fernandes. "O discurso da contradição em Machado de Assis." Revista do Centro de Estudos Portugueses 19, no. 25 (December 31, 1999): 9. http://dx.doi.org/10.17851/2359-0076.19.25.9-19.
Full textAbstract:
<p>Este ensaio pretende mostrar como Machado de Assis, embora historicamente incluído no Realismo, desconstrói as mais importantes convenções literárias adotadas pelos autores desse período: a causalidade e a teleologia da narrativa, a objetividade e a neutralidade dos relatos, o cientificismo do discurso são constantemente desacreditados pela sagaz ironia de seus narradores. Rasurando fronteiras e desmascarando os modos de representação realista, as narrativas de Machado de Assis questionam a oposição entre alguns conceitos como realidade e ficção, verdade e fantasia, contexto social e imaginário, razão e loucura. A ambigüidade e a contradição que emergem de seus textos instalam a suspeita na mente de seus leitores e os obrigam a reconstruírem constantemente sua visão de mundo. Assim, Machado de Assis problematiza a ilusão referencial, o que confere à sua obra uma excepcional contemporaneidade.</p> <p>This paper attempts to show how Machado de Assis, although historically included in Realism, deconstructs the most important literary conventions adopted by the authors of that period: the narrative causality and teleology, the objectivity and neutrality of the accounts, the scientism of the speech are constantly discredited by the sagacious irony of his narrators. By erasing boundaries and unmasking the realistic modes of representation, Machado de Assis’ narratives discuss the opposition between some concepts like reality and fiction, truth and fantasy, social context and imaginary, reason and madness. The ambiguity and contradiction that come up out his texts install the suspicion in the readers mind and compel them often to rebuild their vision of the world. So, Machado de Assis problematizes the referential delusion, what gives his work a exceptional contemporaneity.</p>
19
Boyes, Johanna Morgan. "Genre and Subjectification in Janine Antoni’s Loving Care." Journal of Student Research 7, no. 2 (December 31, 2018): 14–17. http://dx.doi.org/10.47611/jsr.v7i2.605.
Full textAbstract:
In her 2008 book, The Female Complaint: The Unfinished Business of Sentimentality in Popular Culture, Lauren Berlant writes, “femininity is a genre… an aesthetic structure of affective expectation… promising that the persons transacting with it will experience the pleasure of encountering what they expected, with details varying in the theme”. This perspective provides a grounding for Berlant to argue that popular culture offers conventions of female experience marked by sentimentality, specifically, the disappointments in the relationship between fantasy and lived intimacy. Central to Berlant’s work is a desire for conventionality- through adherence to convention, one becomes a social subject. This echoes but is distinct from the work of poststructuralists, who regards the assumption of a sexual identification as how one moves out of the abject into the social realm. The interaction between an individual and the genre of femininity as domestic, intimate, and emotionally fraught is useful to understanding Janine Antoni’s 1993 performance Loving Care. In Loving Care, the artist dipped her hair in a bucket of black hair dye and, on her hands a knees, used it to mop the floor. This essay will argue that Antoni’s performance is a self-conscious reiteration (and exaggeration) of feminine convention. Through dying hair and mopping, Loving Care shows the desire to become a social subject, a woman. Through representions, womanhood has developed a shared understanding of being inherently straining and tenuous, with its obligations of beauty and emotional labor as prerequisite to social belonging and desirability. Antoni’s performance will be analyzed as an experience imagined by the viewer, one that attempts to perform the process of the formation of a subjectivity.
20
Thaliath, Maria Rajan. "Grotesque Realism in O.V Vijayan’s The Saga of Dharmapuri." Tattva - Journal of Philosophy 9, no. 1 (January 1, 2017): 31–43. http://dx.doi.org/10.12726/tjp.17.3.
Full textAbstract:
The Saga of Dharmapuri by O.V. Vijayan is a dystopian fantasy set in the imaginary country of Dharmapuri, which could be a depiction of India or any other newly independent country in the post-colonial era. Mikhail Bakhtin in his treatise Rabelais and his World (1965) justifies the use of Grotesque Realism, a literary trope that allows the author to move away from the conventions of propriety and decency to convey messages that are real and powerful nevertheless. Usually exaggeration and hyperbole are key elements of this style. Through the centuries, literature has often been a medium through which contemporary concerns have been transmitted. This paper argues that O.V. Vijayan uses Grotesque Realism in his novel to depict the political, social and economic condition of India of the 1970s- specifically a country that was under emergency. Like all dystopian fables, The Saga of Dharmapuri has been prophetic in anticipating some of the social issues that we face even today. The paper aims at examining how Vijayan uses explicit language and scatological and sexual imagery so as to achieve this sense of realism within his novel.
21
Galpin, Shelley Anne. "Harry Potter and the Hidden Heritage Films: Genre Hybridity and the Power of the Past in the Harry Potter Film Cycle." Journal of British Cinema and Television 13, no. 3 (July 2016): 430–49. http://dx.doi.org/10.3366/jbctv.2016.0328.
Full textAbstract:
The heritage film is generally considered to be a less commercial form of film-making, one which eschews populism for ‘quality’. This article seeks to question the distinctions drawn between the heritage film and more commercial film franchises by examining the links between the conventions of heritage cinema and the Harry Potter films. Bringing together scholarship on the heritage film, the Harry Potter series and film genre, the article considers these productions in the light of their themes, with the political or class-centred aspects of the narrative examined in relation both to the visual display and to Andrew Higson's early critique of the heritage film. The article argues for different associations of heritage iconography in contemporary film-making from the initial criticisms of heritage cinema made by Higson. Details of the visual style of the Harry Potter films are also considered in relation to the allegedly typical characteristics of the heritage film. Ultimately, the article argues for the success of this film cycle being due to the incorporation of genre characteristics from both the heritage film and the fantasy genre and suggests that because of the increased prevalence of generic hybridity it is time that we began to reconceptualise the heritage film and its associated audiences.
22
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.
Full textAbstract:
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.
23
Leydon, Rebecca. "‘Ces nymphes, je les veux perpétuer’: the post-war pastoral in space-age bachelor-pad music." Popular Music 22, no. 2 (May 2003): 159–72. http://dx.doi.org/10.1017/s0261143003003106.
Full textAbstract:
Juan Garcia Esquivel's compositions and band arrangements of the late 1950s and early 1960s – his so-called ‘space-age bachelor pad music’ – feature exotic and futuristic instruments, dazzling stereo effects, textless vocalisations, and an array of colourful harmonic resources. This paper situates Esquivel's music within the venerable tradition of the Pastoral mode, a specialised narrative mode met in certain literary and musical works. I begin with an account of the musical pastoral, illustrated with reference to Renaissance madrigals, opera libretti, and especially French concert music from the turn of the twentieth century. In the music of ‘impressionist’ composers, pastoral conventions include a preponderance of ‘slithery’ sounds such as tremolo, trills, glissandi, gauzy timbres, colouristic harmonies and, especially, an over-abundance of motivic material. The steady parade of new themes, with little repetition, and rapidly changing orchestral colours impart a hedonistic atmosphere, consistent with the ‘fantasy of plenitude’ associated with the literary Pastoral. Esquivel's music, I claim, represents a transposition of this bucolic style, in which the ephemeral sounds of the flute and harp are transformed into their space-age counterparts: theremin, vibraphone, buzzimba, and the ‘zu-zu-zu’ of the Randy Van Horne Singers. Esquivel's music, I argue, reconstitutes the particular erotic configurations of classic pastoral: in place of fauns and nymphs are suave bachelors and their dates. The paper concludes with a discussion of representations of the ‘leisurely bachelor’ in other contemporaneous media.
24
Harris, Geraldine. "Double Acts, Theatrical Couples, and Split Britches' ‘Double Agency’." New Theatre Quarterly 18, no. 3 (August 2002): 211–21. http://dx.doi.org/10.1017/s0266464x02000301.
Full textAbstract:
In 2001 Split Britches presented a double bill entitled Double Agency, consisting of one new piece, Miss Risqué, and one already in their repertoire, It's a Small House and We've Lived in it Always – both works having been created in collaboration with the Clod Ensemble. In this article, Geraldine Harris re-stages her earlier encounter with Small House, in the light of seeing it again as part of the double bill, as a means of examining a number of issues concerning the work of Split Britches in general and its reception in the academic world. Particular consideration is given to the manner in which Peggy Shaw and Lois Weaver's performances have been read in terms of their ‘real’ lives and relationship and the various ways in which this may reflect the preconceptions of the spectator–critic. Focusing on how their work reiterates specific theatrical traditions and conventions, Harris suggests that utopian tendencies in academic feminist criticism may have underplayed the ways in which, like many famous theatrical double acts, Split Britches constantly perform on the border – between tragedy and comedy, optimism and despair, fantasy and the possible, escape and entrapment. Geraldine Harris is a Senior Lecturer in Theatre Studies at Lancaster University. Her previous publications include a number of articles on female practitioners in nineteenth-century French popular theatre and on gender issues in contemporary performance. Her latest book, Staging Femininities, Performance and Performativity (Manchester University Press, 1999), explored the relationship between feminist performance and a range of postmodern and poststructuralist theories.
25
Frățilă, Lioara. "An Analysis of the Piano Sonata in C Minor, Op. 4 by Frédéric Chopin." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 245–72. http://dx.doi.org/10.24193/subbmusica.2021.1.16.
Full textAbstract:
"The aura of the composer Frédéric Chopin penetrated the Western European musical culture, touching massively other cultures as well, up to the Chinese one; the certainty through which we recognize the thrill of this aura is mostly due to the fact that ”Chopin’s compositions have opened a new era in the piano’s history”. Being present in the Parisian salon with Rossini and Liszt, the great Pole achieved an organic interweaving between the tradition of Austro-German and French music. The analysis of the sonata No. 1 in C-minor op. 4 builds the core of the present study and relevantly denotes the connection of its architecture together with the set of conventions belonging to the format of the sonata-genre coming from Beethoven. As we know, the Sonata-pattern designed by Beethoven was expanded throughout the Romantic period as well as the conditions under which the aesthetics of Romanticism found a specific corridor reaching its maximum of expression. In a way of an idiomatic, natural model of transmission, the Chopin’s style of conceiving music played its predominant role. Taking into account in this approach theories belonging to the aesthetics field and some theoretical applications with significance for understanding the levers of construction concerning this sonata, op. 4 (composed when the composer was only eighteen (1828)) and Chopin’s approach of the other stages of emancipation within the genre, I will highlight its rules which emphasize implicitly the dialogue with the ”Sonata-Fantasy” genre, as this construct appears (for instance) in sonata op. 58. Keywords: language, two themes sonata, polyphony, form, evolution "
26
Caratănase, Răzvan-Constantin, and Răzvan-Petrişor Dragoş. "Particularity and Proliferation of Stroboscopic Elements in the Visual, Performing and Cinematographic Arts." Theatrical Colloquia 10, no. 1 (May 1, 2020): 135–46. http://dx.doi.org/10.2478/tco-2020-0009.
Full textAbstract:
AbstractIn the work “Art and Visual Perception. A Psychology of the Author’s Creative Vision” by Rudolf Arnheim, following some researches/studies of Gestalt psychology applied in the field of visual arts and/or cinematography, the author states: “It is unlikely that any stroboscopic “short-circuit” will occur as long as objects appear on the screen at a sufficient distance from each other.” An observer-spectator only pays attention to what he/she receives. A speedy stream indicates unity. It is precisely for that reason that the vehement and effective ways are indispensable in order to render indisputably the intermittency-discontinuity. The stroboscopic dynamics overlooks the physical source of the visual tangible material. In that case, the visual identity does not start to be problematic as long as an element-object keeps staying in the same place without any inversion or transposition of its appearance - for example: the video camera that does not change its position but registers the building. For the same reason, we have the actor/actress who crosses the screen keeping his/her con-similarity (just walking down the path) without substantially changing his/her size or shape. The nature of the issues only appears under visual circumstances when they invoke/guide where it does not exist or vice versa. Alexander Archipenko (1887-1964): “In order to perform the movement, static painting must resort to symbols and conventions. It did not go beyond fixing a single “moment” in the sequence of moments that make up a movement; all other “moments” before and beyond the fixed movement are left to the imagination and fantasy of the spectator.”
27
Shin, Dong-Hee, and Hee-Kyung Kim. "Convention of Contemporary Urban Fantasy Contents." Journal of the Korea Contents Association 13, no. 3 (March 28, 2013): 87–98. http://dx.doi.org/10.5392/jkca.2013.13.03.087.
Full text
28
Dovydaitis, Gytis. "Celebration of the Hyperreal Nostalgia: Categorization and Analysis of Visual Vaporwave Artefacts." Art History & Criticism 17, no. 1 (November 15, 2021): 113–34. http://dx.doi.org/10.2478/mik-2021-0010.
Full textAbstract:
Summary Vaporwave grabs the attention of internet voyager with harsh collages glued together in a technically primitive manner. It’s a cultural phenomenon which both originated and is active solely on the internet. In the context of general internet culture Vaporwave is exclusive in its aesthetics due to the domination of violet and pink colors, technically primitive quality of texts, fetishization of 8th and 9th decade mainstream commodities and acute nostalgic undertones. Vaporwave has been mostly explored as a music genre or sociological phenomenon, while its visual aspect has mostly remained unattended. This article seeks to analyze the conceptual aspects embodied within Vaporwave visuals, to briefly compare them with music, and to unpack the mechanism of nostalgia as an affective entry point to the movement. The interpretation is mainly lead by Jean Baudrillard’s theory of hyperreality, and interpretational principles of hermeneutics. Five Tumblr blogs were analyzed. Hermeneutic inquiry into the texts yielded seven distinct symbol categories differentiated by the affect they generate: nostalgic commodities, idyllic classics, melancholic landscapes, harsh distortions, gentle geometry, depressive texts, and ecstatic brands. Each of these categories here are elaborated in detail finally summarizing the multilayered symbolism of the movement. It can be described as nostalgically challenging visual conventions through harsh technical quality and opposing codes of behavior through open expressions of depression and melancholy, thus exposing the doubts of individual imprisoned in postmodern society. ’80s and ’90s here become hyperreal fantasy lands of the past where a nostalgic individual can find refuge. In comparison to music, the visual aspect of Vaporwave highlights the technology as central artefacts of nostalgia, introduces new ways to analyze late capitalist consumer culture, and brings an intimate dialogue with hyperreality to the front. The article suggests that Vaporwave is a post-ironic art movement which both celebrates and criticizes capitalism, finally remaining vague whether there are ways to escape the system, and whether these ways should even be looked for.
29
Klimek, Sonja. "Unzuverlässiges Erzählen als werkübergreifende Kategorie. Personale und impersonale Erzählinstanzen im phantastischen Kriminalroman." Journal of Literary Theory 12, no. 1 (March 26, 2018): 29–54. http://dx.doi.org/10.1515/jlt-2018-0003.
Full textAbstract:
Abstract This paper explores why unreliable narration should be considered as a concept not only applying to single works of fiction, but also to whole series of fiction, and why impersonal (›omniscient‹) narration can also be suspected of unreliability. Some literary genres show a great affinity to unreliable narration. In fantastic literature (in the narrower sense of the term), for instance, the reader’s »hesitation« towards which reality system rules within the fictive world often is due to the narration of an autodiegetic narrator whose credibility is not beyond doubt. Detective stories, in contrast, are usually set in a purely realistic world (in conflict with no other reality system) and typically do not foster any doubts regarding the reliability of their narrators. The only unreliable narrators we frequently meet in most detective stories are suspects who, in second level narrations, tell lies in order to misdirect the detective’s enquiries. Their untruthfulness is usually being uncovered at the end of the story, in the final resolution of the criminalistics riddle (›Whodunnit‹?), as part of the genre-typical ›narrative closure‹. As the new genre of detective novels emerged at the turn from the 19th to the 20th century, its specific genre conventions got more and more well-established. This made it possible for writers to playfully change some of these readers’ genre expectations – in order to better fulfil others. Agatha Christie, for example, in 1926 dared to undermine the »principle of charity« (Walton) that readers give to the reliability of first person narrators in detective stories – especially when such a narrator shows himself as being a close friend to the detective at work, as it was the case with Sir Arthur Conan Doyle’s famous Dr. Watson, friend to Sherlock Holmes. Christie dared to break this principle by establishing a first-person narrator who, at the end, turns out to be the murderer himself. Thus, she evades the »principle of charity«, but is not being penalised by readers and critics for having broken this one genre convention because she achieves a very astonishing resolution at the end of the case and thus reaches to fulfil another and even more crucial genre convention, that of a surprising ›narrative closure‹, in a very new and satisfying way. Fantastic literature and detective novels are usually two clearly distinct genres of narrative fiction with partly incommensurate genre conventions. Whereas in fantastic literature (in the narrower sense of the term), two reality systems collide, leaving the reader in uncertainty about which one of the two finally rules within the fictive world, detective novels usually are settled in a ›simply realistic‹ universe. Taking a closer look at a contemporary series of detective fiction, that is, the Dublin stories of Tana French (2007–), I will turn to an example in which the genre convention of ›intraserial coherence‹ provides evidence for the unreliability of the different narrators – whereas with regard only to each single volume of the series, each narrator could be perceived as being completely reliable. As soon as we have several narrators telling stories that take place within the same fictive world, unreliable narration can result from inconsistencies between the statements of the different narrators about what is fictionally true within this universe. Additionally, the Tana French example is of special interest for narratology because in one of the volumes, an impersonal and seemingly omniscient narrator appears. Omniscient narration is usually being regarded as incompatible with unreliability, but, as Janine Jacke has already shown, in fact is not: Also impersonal narration can mire in contradictions and thus turn out to be unreliable. With regard to Tana French’s novel, I would add that it can also be mistrusted because the utterances of this narration can conflict with those of other narrators in other volumes of the same series. So in the light of serial narration, the old question of whether impersonal narration (or an omniscient narrator) can be unreliable at all should be reconsidered. In the case of narrative seriality, the evidence for ascribing unreliability to one of its alternating narrators need not be found in the particular sequel narrated by her/him but in other sequels narrating about events within the same story world. Once again, narrative unreliability turns out to be a category rather of interpretation than of pure text analysis and description. Again, Tana French like previously Agatha Christie is not being penalised by readers and critics for having broken this one genre convention of letting her detective stories take place in a purely ›realistic‹ universe because today, genre conventions are merging more and more. Tana French achieves an even more tempting ›narrative tension‹ by keeping her readers in continuous uncertainty about whether a little bit of magic might be possible in the otherwise so quotidian world of her fictive detectives. Thus, the author metafictionally (and, later also overtly) flirts with the genre of »urban fantasy«, practicing a typical postmodern merging of well-established, hitherto distinct popular genres.
30
Che Man, Siti Hajar. "Reviewing the Short Story Anthologies of Zurinah Hassan: Convention Versus Innovation." Malay Literature 24, no. 1 (March 11, 2011): 70–84. http://dx.doi.org/10.37052/ml.24(1)no4.
Full textAbstract:
This discussion will focus on two anthologies produced by Zurinah Hassan entitled Meneruskan Perjalanan (The Continuation of the Journey) (1987) and Menjelang Pemilihan (As the Selection Dawns) (2004). The study will examine the issues of convention and invention that are evident in her short stories. The discussion will thus be divided into two parts. The first relates to convention in terms of the parallelism and acquiescence or obedience of Zurinah Hassan in cultivating issues or conflicts that can be extracted from short stories in both anthologies. The second relates to the context of invention and refers to the discoveries in her written work which have escaped or become free from conventional characteristics. In other words, her creativity has achieved a new level and is not tied down to conventional rules. The results of this study will assess Zurinah Hassan’s development and the transformation of her talent of authorship that is evident from its creativity, imagination, illusion and fantasy. The existence of improvisation or growth in knowledge, discipline and knowledge of assistance and her experiences in cultivating current issues are also evident. Furthermore, women’s issues are highlighted through the short story genre to be shared especially with other women and with readers in general. Keywords: Conventional laws, creativity, invention, imagination, illusion, fantasy and genre.
31
Kim, Seong-Jae, and Ki-Hwan Son. "A Study on Convention of the Fantasy Cartoon." Cartoon and Animation Studies 38 (March 31, 2015): 195–216. http://dx.doi.org/10.7230/koscas.2015.38.195.
Full text
32
Brandon, James R., and C. Andrew Gerstle. "Circles of Fantasy: Convention in the Plays of Chikamatsu." Journal of Japanese Studies 14, no. 2 (1988): 538. http://dx.doi.org/10.2307/132631.
Full text
33
Beichman, Janine, and C. Andrew Gerstle. "Circles of Fantasy: Convention in The Plays of Chikamatsu." Harvard Journal of Asiatic Studies 48, no. 1 (June 1988): 239. http://dx.doi.org/10.2307/2719277.
Full text
34
Jones, Stanleigh H., and C. Andrew Gerstle. "Circles of Fantasy: Convention in the Plays of Chikamatsu." Monumenta Nipponica 42, no. 1 (1987): 101. http://dx.doi.org/10.2307/2385043.
Full text
35
Heinrich, Amy Vladeck, and C. Andrew Gerstle. "Circles of Fantasy: Convention in the Plays of Chikamatsu." Journal of the American Oriental Society 107, no. 4 (October 1987): 817. http://dx.doi.org/10.2307/603350.
Full text
36
Noviani, Nia, Missriani Missriani, and Dessy Wardiyah. "The Effect of Discovery Learning Model on Students’ Ability to Write Fantasy Stories." Jadila: Journal of Development and Innovation in Language and Literature Education 1, no. 2 (October 5, 2020): 150–60. http://dx.doi.org/10.52690/jadila.v1i2.44.
Full textAbstract:
This study aims to determine whether there is an effect of the Discovery Learning model on improving the ability to write fantasy stories of seventh grade students of SMP Negeri 1 Prabumulih. This research is an experimental research (Experimental Research). Data collection techniques using observation, tests and documentation. The data analysis technique used independent samples t test. The results stated that 1) The ability to write fantasy stories of seventh grade students of SMP Negeri 1 Prabumulih after using the Discovery Learning learning model was in the high category. Then the ability to write fantasy stories using conventional learning models is in the high enough category; 2) There is an effect of the Discovery Learning learning model on the ability to write fantasy stories of VII grade students of SMP Negeri 1 Prabumulih based on the average value of the ability to write fantasy stories of seventh grade students of SMP Negeri 1 Prabumulih after using the Discovery Learning learning model which is higher than the ability to write fantasy stories of students which uses conventional amounting to 90.00. Therefore, it can be that the Ho3 hypothesis is accepted, meaning that there is an influence of the Discovery Learning Model on the ability to write fantasy stories of seventh grade students of SMP Negeri 1 Prabumulih.
37
Grodecka, Aneta. "Fotografie nieistniejącego świata. O polskiej sztuce fantastycznej." Poznańskie Studia Polonistyczne. Seria Literacka, no. 28 (February 19, 2017): 53–76. http://dx.doi.org/10.14746/pspsl.2016.28.3.
Full textAbstract:
Starting with a reconstruction of the views of philosophers and aesthetes on the topic of fantastic images, the Author aims to characterize fantasy art. She describes the reception of this art in Poland, characterizes its determinants, and defines the trend, indicating the most important examples of artistic works. While exploring this approach, she refers to Waldemar Okoń, Jerzy Malinowski, Tomasz Gryglewicz, and Antoni Smuszkiewicz. The convention of fantasy art appears to be a vital, developmental quality, an expression of the rebellion of consciousness against simplifications.
38
Jooste, G. A. "Fantasie en ideologie in Eugene Marais se Dwaalstories." Literator 11, no. 2 (May 6, 1990): 36–51. http://dx.doi.org/10.4102/lit.v11i2.799.
Full textAbstract:
In the four short stories published in the volume Dwaalstories, Eugène Marais achieves a very charming combination of fantasy and ideological coding. The fantasy seems, on the one hand, to camouflage the possible effects of certain ideological stances in the stories and also to predispose a naïve reading, while the more submerged ideological coding, on the other hand, invites closer inspection, which will uncover the real clout of the message. Traditionally, fables recount the victory of the weak over the powerful due to the intervention of some magical outside force. In these African fables this convention is employed to demonstrate the successful undermining of the despotic use of power which causes the innocent to suffer. Assisted by forces of magic residing in Nature, the weak react against injustice, so rectifying the social imbalances and counteracting the dangers caused by the inhumane use of group or institutional force. The purpose of this article is to describe the way in which fantasy and ideology are intercoded in Marais’s Dwaalstories.
39
Kirchner, John A. "Glottic-Supraglottic Barrier: Fact or Fantasy?" Annals of Otology, Rhinology & Laryngology 106, no. 8 (August 1997): 700–704. http://dx.doi.org/10.1177/000348949710600816.
Full textAbstract:
An anatomic structure that might act as a barrier between the glottic and supraglottic areas has never been demonstrated in whole organ serial section studies. Nevertheless, most squamous cell carcinomas arising on the supraglottic mucosa remain confined above the ventricle, and this fact is reflected in the high rate of local control obtained by surgeons performing horizontal supraglottic laryngectomy: 80.6% to 98%. Whole organ sections of laryngectomy specimens suggest that a tumor situated above and below the glottic level may have arrived there not by crossing the ventricle, but by encircling it. In so doing, part of the tumor is visible posterior to the ventricle or on the arytenoid cartilage — a finding that contraindicates conventional supraglottic laryngectomy, with or without limited mobility of the true vocal cord.
40
Wieczorkiewicz, Aleksandra. "Inspiration from Translation: The Golden Age of English-Language Children’s Literature and Its Impact on Polish Juvenile Fiction." Tekstualia 2, no. 65 (September 13, 2021): 69–88. http://dx.doi.org/10.5604/01.3001.0015.2751.
Full textAbstract:
The article presents a cross-sectional view of the impact of the translations of English-language juvenile literature of the Golden Age on Polish literary production for young readers. This panorama of infl uences and reception modes is presented in three comparative close-ups, dealing with characters and recipients (English ‘girls’ novels’ and their Polish equivalents), literary convention (adventure novels), and fairytale quality, imagination, and fantasy (Polish literary works inspired by English classic fantasy books). The study shows that Golden Age children’s literature transferred into Polish by means of translation brought new trends, motifs, genres and themes to Polish juvenile literature, signifi cantly contributing to its development.
41
Ryzhchenko, Olga. "Problems of definition and classification of fantasy: Western European and Slavonic perspectives." SHS Web of Conferences 55 (2018): 04009. http://dx.doi.org/10.1051/shsconf/20185504009.
Full textAbstract:
The article deals with the problem of definition and classification of literary works marked as fantasy. Being quite a modern genre, fantasy, on the one hand, has become quite a popular literature among groups of people of different ages and occupations that leads to the rising attention of theorists of literature and literary critics. But, on the other hand, this literary genre is still not studied and described well enough. Therefore, literary studies do not have conventional definition or classification of the genre. Examining famous fantasy works by J. Tolkien (“The Lord of the Rings”), J. Martin (“The Song of Ice and Flame”) and M. and S. Dyachenko (“Wanderers”), we managed to accentuate typical featured of the genre and define it. Comparing Western European and Slavonic fantasy, we came to a conclusion that this genre combines such necessary features as mythological basis, adventure intrigue, the division of the heroes into possessing superpowers and not possessing such ones, the presence of magical artefacts, opposition to the evil on a global scale. Speaking about classification of the genre we can point out two subgroups such as leaning towards the mythological basis and folklore and leaning towards the historical basis.
42
Che Man, Siti Hajar. "Temasik: Between Convention and Invention." Malay Literature 27, no. 1 (June 1, 2014): 120–30. http://dx.doi.org/10.37052/ml.27(1)no7.
Full textAbstract:
This article focusses on the issue of style of presentation by some Singapore short story writers on the livelihood among the Singapore society in the era of `65 leading to the early 90’s. Temasik (short story anthology by Singapore writers) published by the Dewan Bahasa dan Pustaka in 1987 and edited by Suratman Markasan is chosen for the purpose. Each and every short story in this anthology portrayed the what, where, who, how and when of the Singapore society after 1965 which later became the rigours of livelihood till today. The issues touched upon by the writers are analysed based on the existence of the inter-relation of two dimensions – namely the concept of the creation of creative works and the observation of its continuity and layering between invention and convention. The first concept deals with the bond between reality, imagination, illusion and fantasy whereas the second concept deals with the combination between the pattern of story telling which also mirrors the maturity and experience of the short story writers of the 80’s. The Temasik anthology is not only seen as a catalyst, but also as an impetus toward the production of creative works of quality, apart from ushering the emergence of Singapore writers and works in the era of e-literature. Keywords : Temasik , creative works, convention, invention, e-literature
43
Nunoda, Erin. "Fantasia and the Generic Confluence of Convention and Abstraction." Film Matters 4, no. 1 (March 1, 2013): 32–37. http://dx.doi.org/10.1386/fm.4.1.32_1.
Full text
44
Dhakal, Lekha Nath. "Fantasy in Literature: A Symbiotic Relation to the Real." Pravaha 26, no. 1 (June 1, 2020): 119–23. http://dx.doi.org/10.3126/pravaha.v26i1.41866.
Full textAbstract:
This article attempts to explore the use of fantasy in literature and how it has attained the position of a literary category in the twentieth century. This work also concerns how as the form literature, it functions between wonderful and imitative to combine the elements of both. The article reveals that wonderful represents supernatural atmospheres and events. The story-telling is unrealistic which represents impossibility as it creates a wonderland. In the imitative or the realistic mode, the narrative imitates external reality. In it, the characters and situations are ordinary and real. Fantasy in literature does not escape the reality. It occurs in an interdependent relation to the real. In other words, the fantastic cannot exist independently of the real world that limits it. The use of fantastic mode in literature interrupts the conventional artistic representation and reproduction of perceivable reality. It embodies the reality and transgresses the standards of literary forming. It normally includes a variety of fictional works which use the supernatural and actually natural as well. The developers of fantasy fiction are fairy tales, science fiction about future wars and future world. A major instinct of fantastic fiction is the violence threatened by capitalist violation of personality that is spreading universally.
45
Pyrhönen, Heta. "Ways of keeping love alive: Roland Barthes, George du Maurier, and Gilles Deleuze." Sign Systems Studies 36, no. 1 (December 31, 2008): 49–70. http://dx.doi.org/10.12697/sss.2008.36.1.04.
Full textAbstract:
The article examines Barthes’s A Lover’s Discourse (1977) in conjunction with du Maurier’s Trilby (1894) in order to present an argument about the similarities they share with the male masochistic fantasy as theorised by Deleuze in his Coldness and Cruelty (1989). Barthes’s insistence on the connection between art and love directs my approach. Trilby deals with love and aesthetics in the contexts of art, music, and narrative. The discourses of Trilby’s competing lovers over the same woman serve as a point of comparison against which I read Barthes’s dramatisation of a lover’s discourse. I argue that Barthes’s lover shares a number of central discursive figures with the Deleuzian masochistic lover. I examine Barthes’s suggestion about the tension between the non-narrative discourse of love and the metalanguage of conventional love stories. I focus on those figures in a lover’s discourse that Barthes identifies as keeping this discourse from turning into a love story. My argument is that many of these figures are among the hallmarks of the masochistic fantasy. In particular the formula of disavowal safeguards the lover’s discourse, hindering it from turning into a conventional narrative about love.
46
Sunder, Madhavi. "Intellectual Property in Experience." Michigan Law Review, no. 117.2 (2018): 197. http://dx.doi.org/10.36644/mlr.117.2.intellectual.
Full textAbstract:
In today’s economy, consumers demand experiences. From Star Wars to Harry Potter, fans do not just want to watch or read about their favorite characters— they want to be them. They don the robes of Gryffindor, flick their wands, and drink the butterbeer. The owners of fantasy properties understand this, expanding their offerings from light sabers to the Galaxy’s Edge®, the new Disney Star Wars immersive theme park opening in 2019.Since Star Wars, Congress and the courts have abetted what is now a $262 billion-a-year industry in merchandising, fashioning “merchandising rights” appurtenant to copyrights and trademarks that give fantasy owners exclusive rights to supply our fantasy worlds with everything from goods to a good time. But are there any limits? Do merchandising rights extend to fan activity, from fantasy-themed birthday parties and summer camps to real world Quidditch leagues? This Article challenges the conventional account, arguing that as the economic value of fantasy merchandising increases in the emergent “experience economy,” intellectual property owners may prove less keen on tolerating uncompensated uses of their creations. In fact, from Amazon’s Kindle Worlds granting licenses for fan fiction, to crackdowns on sales of fan art sold on internet sites like Etsy, to algorithms taking down fan videos from YouTube, the holders of intellectual property in popular fantasies are seeking to create a world requiring licenses to make, do, and play. This Article turns to social and cultural theories of art as experience, learning by doing, tacit knowledge, and performance to demonstrate that fan activity, from discussion sites to live-action role-playing fosters learning, creativity, and sociability. Law must be attentive to the profound effects these laws have on human imagination and knowledge creation. I apply the insights of these theories to limit merchandising rights in imaginative play through fair use, the force in the legal galaxy intended to bring balance to intellectual property law.
47
Yonkie, Andrew, and Agus Nugroho Ujianto. "UNSUR-UNSUR GRAFIS DALAM KOMIK WEB." Jurnal Dimensi DKV Seni Rupa dan Desain 2, no. 2 (October 24, 2017): 123–34. http://dx.doi.org/10.25105/jdd.v2i2.2184.
Full textAbstract:
AbstractThe Graphic Elements in Webcomics. Webcomics now exist as a form of replacement for conventional comics. Webcomics suited for the current generation who values timesaving products and services. Comic artists also begin to shift toward webcomics to express their creative flair in the stories they want to present, utilizing beautiful art styles and adjust to the new layout found in webcomics. This paper discuss 3 (three) webcomics originally from Indonesia in fantasy genre which are Super Santai, Nusantara Droid War, and Mantradeva. Each webcomics has unique character and storyline that their readers favor. Those webcomics analyzed with qualitative methods to explore the graphic elements. The graphic elements are the style of illustration, layout, colors, and typography. The result is each webcomics has their unique characteristics in illustrationstyle and storyline that attracts young readers.AbstrakUnsur-unsur Grafis Dalam Komik Web. Komik web sekarang muncul sebagai semacam pengganti komik konvensional. Komik web dianggap lebih cocok untuk generasi masa kini yang lebih melirik produk dan layanan yang praktis. Penulis komik juga mulai beralih ke komik web untuk mengeskpresikan kreativitas mereka di dalam cerita yang ingin mereka buat, memanfaatkan gaya gambar yang indah dan menyesuaikan layout baru yang ditemukan dalam komik web. Makalah ini membahas3 (tiga) komik web asli Indonesia dengan genre fantasi yaitu Super Santai, Nusantara Droid War, dan Mantradeva. Masing-masing komik web tersebut memiliki keunikan karakter dan cerita sehingga digemari oleh banyak pembacanya. Ketiga komik web tersebut dianalisis dengan metode kualitatif berdasarkan unsur-unsur grafisnya yaitugaya ilustrasi, layout, warna, dan tipografi. Hasil dari analisis adalah setiap komik web memiliki ciri khas masing-masing dalam gaya ilustrasi dan cerita yang khas sehingga mampu menarik perhatian pembaca muda.
48
Brzóstowicz-Klajn, Monika. "Fantastyka i temat Holokaustu. Między wątpliwościami a funkcjonalnością konwencji fantastycznych." Poznańskie Studia Polonistyczne. Seria Literacka, no. 28 (February 19, 2017): 101–19. http://dx.doi.org/10.14746/pspsl.2016.28.5.
Full textAbstract:
Starting with Jerzy Jarzębski’s opinion that the fantastic convention in contemporary literature fulfills the role of “artificial sense”, the Author analyzes selected works related to the subject of the Holocaust in order to check the functionality and artistic value of fantastic elements used there. She notes that fantasy helps writers express the experience of emptiness following a loss, strengthens the trauma related to the past, and emphasizes the literariness of the text, fulfilling the role of metafiction.
49
Gourgouris, Stathis. "Dream-Work of Dispossession." Journal of Palestine Studies 44, no. 4 (2015): 32–47. http://dx.doi.org/10.1525/jps.2015.44.4.32.
Full textAbstract:
Essentially a cinema of occupation and dispossession, Palestinian cinema disrupts standard notions of national cinema, complicating conventional expectations of national aesthetics or national dreams. As the borders of Palestine's historical territory are continuously under erasure, so too are the symbolic boundaries of its language, which is flexible and inventive; the language of Palestinian cinema is a limit-language. No one has expressed this “limit condition” more succinctly than Elia Suleiman, whose cinematic language exemplifies a poetics of dispossession that depicts the asphyxiating spaces and truncated temporalities of Palestinian life with tragic humor and bold fantasy in defiance of narrative simplicity. Suleiman's films run counter to the conventional representation of Palestinian existence and are arguably the sharpest expressions of what can be deemed to be the dream-work of that existence against its conventional representation.
50
Parisi, Luciano. "DINO BUZZATI: l'AMBIGUITÀ DELLA FANTASIA." Forum Italicum: A Journal of Italian Studies 39, no. 1 (March 2005): 83–99. http://dx.doi.org/10.1177/001458580503900105.
Full textAbstract:
Imagination allowed Dino Buzzati to play with the readers' expectations, and to escape from stereotypes and conventions. It also allowed him to pay attention to the secret messages that nature seemed to send, and gave him a chance to interpret them. Imagination, finally, made it possible for Buzzati to create fictional worlds, more serene and just than the one in which he lived. In all these cases, imagination played a constructive part in Buzzati's work. There were, however, cases in which it led the writer to take the negative aspects of the world for granted, and provoked an excess of unjustified pessimism. Like everything else in his fiction, therefore, imagination had in Buzzati an ambiguous nature.