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Books on the topic 'Fantasy discourse'

Author: Grafiati

Published: 28 May 2022

Last updated: 31 July 2025

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1

Yuan, Yuan. The discourse of fantasy: Theoretical and fictional perspectives. Hollowbrook Pub., 1995.

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2

MacKendrick, Kenneth G. Discourse, desire, and fantasy in Jürgen Habermas' critical theory. Routledge, 2008.

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3

S, Shaffer E., ed. Fantastic currencies in comparative literature, gothic to postmodern: With an index to volumes 1-24. Cambridge University Press, 2002.

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4

Chan, Tak-hung Leo. The discourse on foxes and ghosts: Ji Yun and eighteenth-century literati storytelling. The Chinese University of Hong Kong, 1998.

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5

Jean-Michel, Adam, ed. Textualité et intertextualité des contes: Perrault, Apulée, La Fontaine, Lhéritier--. Éditions Classiques Garnier, 2010.

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6

Rachel, Fordyce, and Marello Carla, eds. Semiotics and linguistics in Alice's world. W. de Gruyter, 1994.

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7

Lord, Michel. La logique de l'impossible: Aspects du discours fantastique québécois. Nuit blanche, 1995.

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8

Delavaux, Céline. L'art brut, un fantasme de peintre: Jean Dubuffet et les enjeux d'un discours. Palette, 2010.

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9

Mirail, Université de Toulouse-Le, ed. Discours et fantasme: Étude clinique des conceptions sociales de quelques agriculteurs membres d'un G.A.E.C. A.N.R.T. Université de Lille III, 1987.

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10

Kemp, Paul S. Discourse in Steel. HarperCollins Publishers, 2014.

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11

Yuan, Yuan. The Discourse of Fantasy: Theoretical and Fictional Perspectives. Hollowbrook Pub, 1994.

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12

MacKendrick, Kenneth. Discourse, Desire, and Fantasy in Jurgen Habermas' Critical Theory. Taylor & Francis Group, 2012.

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13

Mackendrick, Kenneth. Discourse, Desire, and Fantasy in Jurgen Habermas' Critical Theory. Routledge, 2007.

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14

MacKendrick, Kenneth. Discourse, Desire, and Fantasy in Jurgen Habermas' Critical Theory. Taylor & Francis Group, 2008.

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15

MacKendrick, Kenneth. Discourse, Desire, and Fantasy in Jurgen Habermas' Critical Theory. Taylor & Francis Group, 2008.

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16

MacKendrick, Kenneth. Discourse, Desire, and Fantasy in Jurgen Habermas' Critical Theory. Taylor & Francis Group, 2008.

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17

MacKendrick, Kenneth. Discourse, Desire, and Fantasy in Jurgen Habermas' Critical Theory. Taylor & Francis Group, 2008.

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18

MacKendrick, Kenneth. Discourse, Desire, and Fantasy in Jurgen Habermas' Critical Theory. Taylor & Francis Group, 2008.

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19

Kemp, Paul S. Discourse in Steel: An Egil and Nix Novel. Random House Publishing Group, 2015.

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20

Ng, Linda Fung-yee, and Leo T. H. Chan. The Discourse on Foxes and Ghosts. Columbia University Press, 1998.

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21

Kemp, Paul S. Discourse in Steel: A Tale of Egil and Nix. HarperCollins Publishers Limited, 2013.

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22

Kemp, Paul S. A Discourse in Steel. Angry Robot on Brilliance Audio, 2013.

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23

Discourse, Desire, and Fantasy in Jurgen Habermas' Critical Theory (Studies in Philosophy). Routledge, 2007.

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24

Kemp, Paul S. A discourse in steel: A tale of Egil & Nix. 2015.

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25

MacKendrick, Kenneth G. Discourse, desire and fantasy: A psychoanalytic and philosophical study of the foundations of Jüergen Habermas's critical social theory. 2005.

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26

Clarke, MJ. Dragon's Lair and the Fantasy of Interactivity. The Rowman & Littlefield Publishing Group, 2022. https://doi.org/10.5040/9781666989298.

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Perhaps no arcade game is so nostalgically remembered, yet so critically bemoaned, as Dragon’s Lair. A bit of a technological neanderthal, the game implemented a unique combination of videogame components and home video replay, garnering great popular media and user attention in a moment of contracted economic returns and popularity for the videogame arcade business. But subsequently, writers and critics have cast the game aside as a cautionary tale of bad game design. In Dragon’s Lair and the Fantasy of Interactivity, MJ Clarke revives Dragon’s Lair as a fascinating textual experiment interla

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27

Belägrade människor – Belägrade Rum: Om invandrargöranden och förorter: Om invandrargöranden och förorter. Uppsala University, 2007.

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28

Zhou, Shuyan. From Online BL Fandom to the CCTV Spring Festival Gala. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390809.003.0006.

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Regarding the question of politics and play in Chinese Internet culture, this chapter re-examines particular effects of netizens’ carnival practices, as well as the complex interactions and contradictions among cyberculture, the official culture, and consumerism in China, by centering on a specific case of “Looking for Leehom” (zhao Lihong) and its related media discourses in 2012 and 2013. The case serves as an influential online carnival, starting from an online Boy’s Love fandom of those who participated in the fantasy matchmaking of two male celebrities. Further, it raises large questions

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29

Marotti, Arthur F. Religious Ideology And Cultural Fantasy: Catholic and Anti-Catholic Discourses in Early Modern England. University of Notre Dame Press, 2005.

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30

Marotti, Arthur F. Religious Ideology and Cultural Fantasy: Catholic and Anti-Catholic Discourses in Early Modern England. University of Notre Dame Press, 2005.

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31

Peacock, D. Keith. Thatcher's Theatre. Greenwood Publishing Group, Inc., 1999. http://dx.doi.org/10.5040/9798216024705.

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The Thatcher administration of 1979 to 1990 had a profound and apparently lasting effect on British theatre and drama. It is now roughly a decade since the fall of Margaret Thatcher and, with the benefit of hindsight, it has become possible to disentangle fact from fantasy concerning her effect on the British theatre. During her administration, there was a significant cultural shift which affected drama in Britain. While some critics have argued that the theatre was simply affected by financial cutbacks in arts subsidies, this volume challenges that view. While it looks at the economic influen

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32

Carbonell, Curtis D. Dread Trident. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620573.001.0001.

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Dread Trident examines the rise of imaginary worlds in tabletop role-playing games (TRPGs), such as Dungeons and Dragons. With the combination of analog and digital mechanisms, from traditional books to the internet, new ways of engaging the fantastic have become increasingly realized in recent years, and this book seeks an understanding of this phenomenon within the discourses of trans- and posthumanism, as well as within a gameist mode. The book explores a number of case studies of foundational TRPGs. Dungeons and Dragons provides an illustration of pulp-driven fantasy, particularly in the w

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33

Everett, Justin, and Jeffrey H. Shanks, eds. Unique Legacy of Weird Tales. Rowman & Littlefield, 2015. https://doi.org/10.5040/9798881818555.

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When the pulp magazine Weird Tales appeared on newsstands in 1923, it proved to be a pivotal moment in the evolution of speculative fiction. Living up to its nickname, “The Unique Magazine,” Weird Tales provided the first real venue for authors writing in the nascent genres of fantasy, horror, and science fiction. Weird fiction pioneers such as H. P. Lovecraft, Robert E. Howard, Clark Ashton Smith, Robert Bloch, Catherine L. Moore, and many others honed their craft in the pages of Weird Tales in the 1920s and 1930s, and their work had a tremendous influence on later generations of genre author

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34

Whitesell, Lloyd. Tricks of the Light. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843816.003.0008.

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This chapter turns to the other side of the coin—the failure of magical belief. Glamour conjures up a transfigured counter-reality and acts as a bridge to that imagined existence. But the entire symbolic edifice is built on fancy and prone to collapse, with reality reasserting itself and dragging us back from our projection into the dreamworld. Many film musicals warn against glamour as mystification or deceit. Four types of examples are discussed, each skeptical in a different way (joking, haunted, wishful, manipulative). Concluding discussion shows how the musical genre has affinities with t

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35

Hawkins, Benjamin. Deconstructing Brexit Discourses: Embedded Euroscepticism, Fantasy Objects and the United Kingdom's Vote to Leave the European Union. Taylor & Francis Group, 2021.

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36

Hawkins, Benjamin. Deconstructing Brexit Discourses: Embedded Euroscepticism, Fantasy Objects and the United Kingdom's Vote to Leave the European Union. Taylor & Francis Group, 2021.

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37

Hawkins, Benjamin. Deconstructing Brexit Discourses: Embedded Euroscepticism, Fantasy Objects and the United Kingdom's Vote to Leave the European Union. Taylor & Francis Group, 2021.

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38

Hawkins, Benjamin. Deconstructing Brexit Discourses: Embedded Euroscepticism, Fantasy Objects and the United Kingdoms Vote to Leave the European Union. Routledge, 2021.

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39

Hawkins, Benjamin. Deconstructing Brexit Discourses: Embedded Euroscepticism, Fantasy Objects and the United Kingdom's Vote to Leave the European Union. Taylor & Francis Group, 2021.

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40

Gotman, Kélina. Monstrous Grace. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.003.0012.

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The first decades of the twentieth century saw a flurry of dance ‘crazes’, from the tango and the Charleston to the jitterbug, increasingly mapped onto the language of blackness. Jazz, cakewalk, and animal dances infused the social and popular culture of American and European cabarets; yet in the literature on dance and public health, twisting, contortions, hopping, and contagious enthusiasm represented the spectre of sexually taboo and ungainly blackness, against which ‘modern’ (white) dancing set itself. The choreographic discourse on modernity after Sigmund Freud conjugated primitive, infan

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41

Gotman, Kélina. Coda. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.003.0013.

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Modernity can be understood as the cultivation of a fantasy about the past: in the case of choreomania, this ‘past’ was imagined as a rumbling horde, a Bacchic chorus against which purposeful ‘modernity’ positioned itself. Meaningless gesture, after Agamben, epitomized in the nineteenth century in the figure of ‘chorea’, similarly became with the scientific discourse on choreomania a manner of thinking modernity’s double movement, forward and back, between efficient industrialization and the collective archaicity out of which this efficiency imagined itself to arise. Reperforming my own archiv

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42

La parole et le discours dans l'œuvre de Samuel Beckett: Temps, désir, fantasme. A.N.R.T, Université de Lille III, 1992.

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43

L'art brut, un fantasme de peintre: Jean Dubuffet et les enjeux d'un discours. Palette, 2010.

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44

Critical discourses of the fantastic, 1712-1831. Ashgate Pub., 2011.

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45

Johnson, Catherine. Telefantasy. BFI Publishing, 2022. http://dx.doi.org/10.5040/9781839025402.

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Telefantasy offers the first book length study to consider the place of fantasy, science fiction, and horror dramas in the history of British and US television. Looking at two periods (the 1950s/60s and the 1990s/2000s) when telefantasy has been particularly prevalent on television, this book provides detailed historical accounts of the production of key 'telefantasy' programmes: the Quatermass serials, The Prisoner, Star Trek, The X-Files, Buffy the Vampire Slayer, and Randall and Hopkirk (Deceased). Each case study is situated in relation to the development of the British and US television i

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46

Gautreau, Justin. The Last Word. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190944551.001.0001.

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The Last Word argues that the Hollywood novel opened up space for cultural critique of the film industry at a time when the industry lacked the capacity to critique itself. While the young studio system worked tirelessly to burnish its public image in the wake of celebrity scandal, several industry insiders wrote fiction to fill in what newspapers and fan magazines left out. Throughout the 1920s and 1930s, these novels aimed to expose the invisible machinery of classical Hollywood cinema, including not only the evolving artifice of the screen but also the promotional discourse that complemente

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47

Kruse, Zack. Mysterious Travelers. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496830531.001.0001.

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Steve Ditko (1927–2018) is one of the most important contributors to American comic books. As the cocreator of Spider-Man and sole creator of Dr. Strange, Ditko made an indelible mark on American popular culture. Mysterious Travelers: Steve Ditko and the Search for a New Liberal Identity resets the conversation about his heady and powerful work. Always inward facing, Ditko's narratives employed superhero and supernatural fantasy in the service of self-examination, and with characters like the Question, Mr. A, and Static, Ditko turned ordinary superhero comics into philosophic treatises. Many o

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48

Turney, Joanne. In Private. Bloomsbury Publishing Plc, 2024. https://doi.org/10.5040/9781350062153.

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The 1970s is often considered the period that design forgot.In Privatesets out to challenge this view, offering a cultural history of domestic interior design in Britain and America over the course of a decade that shaped the contemporary relationship between fashion and interiors. With each chapter dedicated to a different room in the house, this book explores style, design and socio-cultural influence from the sitting room to the sauna, and from the kitchen to the conservatory. Considering the key critical discourses which arise from the style and function of each space,In Privatelooks at ho

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49

Geschlechter-f(r)iktionen-f(r)ictions des genres: Geschlechterphantasien im literarischen Diskurs Fantasme des genres dans le discours littéraire. PL Academic Research, 2013.

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50

Town, Stephen. Choral-Orchestral Works of Ralph Vaughan Williams. The Rowman & Littlefield Publishing Group, 2019. https://doi.org/10.5040/9781978728417.

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The Choral-Orchestral Works of Ralph Vaughan Williams: Autographs, Context, Discourse combines contextual knowledge, a musical commentary, an inventory of the holograph manuscripts, and a critical assessment of the opus to create substantial and meticulous examinations of Ralph Vaughan Williams’s choral-orchestral works. The contents include an equitable choice of pieces from the various stages in the life of the composer and an analysis of pieces from the various stages of Williams’s life. The earliest are taken from the pre-World War I years, when Vaughan Williams was constructing his identi

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