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Books on the topic 'Fantasy tropes'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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1

Dębski, Eugeniusz. Tropem Xameleona. Lublin: Fabryka Słów, 2003.

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2

Burgos, Jaime Zúñiga. --de entierros y tesoros: Y uno que otro fantasma. Querétaro, Mexico]: E.E. Torres Montes, 2009.

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3

Depken, Kristen L. Wally's magical adventures. New York, New York: Golden Books, 2015.

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4

Trompe l'oeil at home: Faux finishes and fantasy settings. New York: Rizzoli, 1991.

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5

Snow, Alan. Here be monsters: An adventure involving magic, trolls, and other creatures. New York: Atheneum Books for Young Readers, 2006.

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6

Storm, P. W. The mercenaries. New York: HarperCollins, 2008.

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7

Bang Goes a Troll (An Awfully Beastly Business, #3). London: Simon & Schuster Children's, 2009.

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8

The storm witch: A novel of Dhulyn and Parno. New York: DAW Books, 2009.

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9

Ruckley, Brian. The Free. London: Orbit, 2014.

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10

The prodigal troll. Amherst, N.Y: Pyr, 2005.

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11

Langrish, Katherine. West of the moon. London: HarperCollins Children's, 2011.

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12

A troll story. New York: Greenwillow Books, 1990.

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13

Vornholt, John. The troll king. New York: Aladdin Paperbacks, 2002.

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14

Harper, Steven. Iron axe. New York: Penguin Group US, 2015.

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15

illustrator, Kerrigan Eoghan, ed. Zaria Fierce and the secret of Gloomwood Forest. United States]: [Keira Gillett], 2015.

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16

Cosgrove, Stephen. Tinkling: A treasure troll tale. Racine, Wis: Western Pub. Co., 1992.

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17

illustrator, Moriconi Elisa, ed. More precious than gold. Herndon, VA: Mascot Books, 2014.

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18

Snow, Alan. Here be monsters. New York: Atheneum Books for Young Readers, 2006.

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19

The troll king. Marietta, Ga: Top Shelf Productions, 2010.

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20

Kirk, Daniel. The low road. New York: Amulet Books, 2008.

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21

Kirk, Daniel. The low road. New York: Amulet Books, 2008.

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22

The lava crown. London: Raintree, 2012.

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23

ill, Fiegenshuh Emily, ed. Eye of Fortune. Renton, WA: Mirror Stone, 2004.

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24

The golden dream of Carlo Chuchio. Waterville, Me: Thorndike Press, 2008.

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25

ill, Wyatt David, ed. Fen Gold: Wickit Chronicles #2. La Jolla, CA: Kane/Miller, 2008.

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26

A riddle of green. New York: Random House Childrens Books, 2009.

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27

Shadowheart. London: Gollancz, 2008.

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28

ill, Darcy Pamela, ed. Magic of the five. New York: Scholastic, 2006.

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29

Tropes of Fantasy Fiction. McFarland & Company, Incorporated Publishers, 2015.

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30

The Tropes of Fantasy Fiction. McFarland, 2014.

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31

Weisband, Edward. On the Slippery Tropes of We-ness. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190677886.003.0010.

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The performative aesthetics of transgression occur as perpetrators “will” the unwillable desire of the introjected m(Other) experienced in fantasy in modes that include superegotistical enjoyment projected outward in forms of sadistic cruelty. Such macabresque pursuits assume surrogate forms of desire, in surplus cruelty, in the gratuitous sadism of absolute power. Superegotistical desire and its “enjoyment” are sustained by supererogatory reifications that revel in moral masochism and sadistic moralism. This leads to macabresque aesthetics and theatricality of performative transgression since the laws of jouissance, its prohibition and pursuit in substitute forms, must be repeated again and again. This chapter links a Lacanian theory of language to the psychic origins of collective perceptions in mass violence and human violation.

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32

Tung, Charles M. Modernism and Time Machines. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474431330.001.0001.

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Modernism and Time Machines places the fascination with time in canonical works of twentieth-century literature and art side-by-side with the rise of time-travel narratives and alternate histories in popular culture. Both modernism and this cardinal trope of science fiction produce a range of effects and insights that go beyond the exhilarations of simply sliding back and forth in history. Together the modernist time-obsession and the fantasy of moving in time help us to rethink the scales and shapes of time, the consistency of timespace, and the nature of history.

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33

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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34

Trompe L'oeil at Home: Faux Finishes and Fantasy Settings. Quarto Publishing Group UK, 2003.

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35

Captain's Sea Chest: A Fantasy Story for Children and Those Forever Young. Book Guild Publishing, Limited, 2006.

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36

Cohen, Matthew Isaac. Gamelanesque effects. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0009.

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Standard accounts of gamelan’s internationalization focus on the growth of gamelan as an ‘ethnic ensemble’ in university and community settings, in touring gamelan troupes, and in intercultural abduction. To complicate this narrative, this chapter examines the Polish composer-pianist Leopold Godowsky and the American composer Henry Eichheim, who approached gamelan to convey impressions of a distant land in the manner of the travelogue, and the place of gamelan in the development of universalist musical theories and practices in American early-twentieth-century educational settings. During this period, audiences were rarely exposed directly to gamelan music; instead they experienced distant approximations or interpretations. Such ‘gamelanesque’ music provided a fantasy of the musical ‘Other’ and anti-modern escapism.

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37

Esslemont, Ian C. Orb Sceptre Throne : : A Concoction of Greed, Betrayal, Murder and Deception Underscore This Fantasy Epic. Transworld Publishers Limited, 2012.

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38

El tesoro del pirata fantasma. Barcelona, España: Destino, 2012.

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39

Vornholt, John. The Troll Treasure (Ready-For-Chapters). Aladdin, 2003.

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40

Vornholt, John. Troll Treasure (Ready-For-Chapters). Tandem Library, 2003.

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41

Storm, P. W. The Mercenaries: Blood Diamonds. Avon, 2006.

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42

Storm, P. W. The Mercenaries: Thunderkill (Mercenaries). Harper, 2007.

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43

Storm, P. W. The Mercenaries: Blood Diamonds. Avon, 2006.

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44

Storm, P. W. The Mercenaries: Mad Dogs and Englishmen. Harper, 2008.

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45

Gotman, Kélina. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.003.0001.

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‘Choreomania’ borrows from and extends the Orientalist trope described by Edward W. Said: imagined as feminine, exotic, and ancient, so-called choreomaniacs were also described in colonial medical and anthropological literature as jagged and unpredictable. ‘Epidemic hysterias’ involving frenzied dancing, or individual ticking and jerking, constitute an alternative history of gestural modernity, opposite to the smooth and efficient movement of ‘torque’. The fantasy of dance-like neuromotor disorder disrupting the smooth march of modernity constitutes choreomania as a swarm-like madness whose conceptual genealogy, following Michel Foucault, can be traced through a discursive history articulated across fields. The chapter proposes to think about the movement of this writing, the archival repertoire of scenes describing disorderly movement as it circulated around the world. Choreography itself can thus be understood as an art and science of motion, in motion: ‘choreography’—writing dance—describes the imagined, and moving, borderline between figures of order and unrest.

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46

Platte, Nathan. “Our Valedictory to Wild Extravagance”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0013.

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Melancholy and troubled, Portrait of Jennie has elicited widely divergent responses. Its music—based on themes of Debussy as adapted by Dimitri Tiomkin and Jester Hairston—has been hailed as alternately innovative and regressive. Perhaps because the film was so different from previous productions and its fantasy-based story so vulnerable to disdain, Selznick turned to the score with unprecedented vigor, hoping to improve a production plagued by difficulties. Portrait became Selznick’s most ambitious scoring project, and its complexities resonate in an astonishing paper trail. Assembling Dimitri Tiomkin’s musical score through this archival trove shows how Selznick sought to come full circle in Portrait, returning to musico-cinematic principles drawn from the silent era.

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47

Kemp, Paul S. A Conversation in Blood: An Egil & Nix Novel. Del Rey, 2017.

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48

Legend of the Treasure. iUniverse, Inc., 2006.

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49

Sadler, Barry. Casca: The Conquistador (Casca (DH Audio)). DH Audio, 2001.

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50

Sadler, Barry. Casca: The Cursed. Books in Motion, 2003.

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