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Third International Conference on the Fantastic in the Arts, Program
Page 18
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International Conference on the Fantastic in the Arts. Third International Conference on the Fantastic in the Arts, Program - Page 18. March 10, 1982 - March 13, 1982. Special Collections, University of Houston Libraries. University of Houston Digital Library. Web. October 23, 2020. https://digital.lib.uh.edu/collection/1984_003/item/1216/show/1190.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

International Conference on the Fantastic in the Arts. (March 10, 1982 - March 13, 1982). Third International Conference on the Fantastic in the Arts, Program - Page 18. Fritz Leiber Science Fiction & Fantasy Convention Flyers & Programs. Special Collections, University of Houston Libraries. Retrieved from https://digital.lib.uh.edu/collection/1984_003/item/1216/show/1190

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

International Conference on the Fantastic in the Arts, Third International Conference on the Fantastic in the Arts, Program - Page 18, March 10, 1982 - March 13, 1982, Fritz Leiber Science Fiction & Fantasy Convention Flyers & Programs, Special Collections, University of Houston Libraries, accessed October 23, 2020, https://digital.lib.uh.edu/collection/1984_003/item/1216/show/1190.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

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Compound Item Description
Title Third International Conference on the Fantastic in the Arts, Program
Creator (LCNAF)
  • International Conference on the Fantastic in the Arts
Date March 10, 1982 - March 13, 1982
Description Program book for the Third International Conference on the Fantastic in the Arts.
Donor Leiber, Fritz; Leiber, Justin
Subject.Topical (LCSH)
  • Science fiction conventions
  • Fantasy fiction
  • Science fiction
Subject.Name (LCNAF)
  • Leiber, Fritz
  • Stoppard, Tom
  • Ellmann, Richard
  • Delany, Samuel R.
  • Ellison, Harlan
  • Pohl, Frederik
  • Aldiss, Brian W.
  • Wolfe, Gene
  • Gunn, James E.
  • Malzberg, Barry N.
  • DiFate, Vincent
  • International Conference on the Fantastic in the Arts
Subject.Name (Local)
  • Digby, John
Subject.Geographic (TGN)
  • Boca Raton, Florida
Genre (AAT)
  • brochures
Language English
Type (DCMI)
  • Text
Original Item Location ID 1984-003, Box 57, Folder 14
ArchivesSpace URI /repositories/2/archival_objects/5286
Original Collection Fritz Leiber Papers
Digital Collection Fritz Leiber Science Fiction & Fantasy Convention Flyers & Programs
Digital Collection URL http://digital.lib.uh.edu/1984_003
Repository Special Collections, University of Houston Libraries
Repository URL http://info.lib.uh.edu/about/campus-libraries-collections/special-collections
Use and Reproduction Rights Undetermined
File Name index.cpd
Item Description
Title Page 18
Format (IMT)
  • image/jpeg
File Name uhlib_1984_003_b057_f014_040_019.jpg
Transcript for order, and they trade upon the conventional assumption, incorrect for polymorphous fantasy, that it will be possible to make order out of the prevailing chaos of the text. Robert Coover's short story, "The Magic Poker," illustrates the ways in which these texts rely on the sustained sense of disorder for their effects. Session VII, Friday, 9-10:30 a.m. Film: JUST IMAGINE Coral Ballroom 9:00-10:50 a.m. 1930, United States (Fox). Directed by David Butler. Songs by DeSylva, Brown, and Henderson. With El Brendel, Maureen O'Sullivan, Mischa Auer, Frank Alberton. New York in 1980. "A fantastic celluloid extravaganza." — Variety. AUTHORS' READINGS Sandpiper Room 9 a.m. DAVID LUNDE, reading "The Cozening of Andragash," a story about magicians. David Lunde considers himself "primarily a poet," has two published volumes of verse, Sludgegulper I and Calibrations, the latter published last May. Much of his fiction was done in collaboration with Jim Sallis of New Worlds back in the sixties, and published there. He has also appeared in Whispers, Galaxy and 2076: The American Tricentennial, ed. Ed Bryant. Lunde is an expert French, linguist, and does translations Italian, Provencal and Friulano. from 10 a.m. BRIAN W. ALDISS, reading "The Boat Animals." Brian Aldiss, the dean of British Science fiction writers, is also a member of our Writer's Workshop faculty. Aldiss' latest novel, Helliconia Spring, has won rave reviews on both sides of the Atlantic. Aldiss has also won the Nebula, Hugo, and British Science Fiction Awards, and among his dozens of novels Barefoot in the Head, Greybeard and The Malacia Tapestry rank among the all-time classics in the field. 28 THE FANTASTIC IN THE WORKS OF EDGAR ALLAN P0E: PART 2 Seagrape Room CHAIR: Richard Kopley, Walden School, New York City. HAL BLYTHE and CHARLIE SWEET, Eastern Kentucky University, "Poe's Satiric Use of Vampirism in 'Berenice.'" The essential motif in Poe's "Berenice" is the familiar legend of the vampire. The narrator's final oral violation of Berenice can best be understood as the narrator's futile attempt to break what he thinks'is the vampire's spell. Poe treats the narrator ironically, thus satirizing the legend which so obsesses Egaeus. JOSEPH FRANCAVILLA, State University of New York, Buffalo, "Poe's Uncanny Doubles." Freud's definition of the uncanny as the return of the repressed and as a seeming resurgence of the magical and the supernatural characterizes the doubles in Poe's stories such as "William Wilson," "The Black Cat," "The Fall of the House of Usher," and "The Imp of the Perverse." Freud and Otto Rank see narcissism, guilt, and repression as the forces behind doubling and perceive the Doppelganger as an ambivalent figure, both savior^ and destroyer. Poe's doubles by division follow these models and take on the role of an avenging, diabolical conscience and imp of the perverse which destroys the protagonist's ego. CAROLE WEISZ, Pennsylvania State University, "Poe's Night Terror: The Deep Sleep." The basic difference between Poe's Grotesques and his Arabesques is their origin. The Grotesques may be linked with the dreams of rapid eye movement sleep (REM); the Arabesques may be connected with the dreams of non-rapid eye movement sleep (NREM). The terror of the Arabesque owes much to the terror characteristic of nonrapid eye movement sleep. This study allows us to perceive not only the source of terror for Poe, but for ourselves as well. 29 TIME AND THE FANTASTIC Room 108 CHAIR: Walter M. Gershuny, Northeastern University. LILLIAN BULWA, Northeastern University, "Time Before Time: La Vie anterieure in Nerval and Baudelaire." The idea of la Vie anterieure is a pervasive one in Romantic literature. It is tied to the broader theme time, While refers "anterior altogether. of nostalgia for lost innocence or the "clouds of glory" that have both notions look back in time, to the same, single lifetime life" evokes another Two nineteenth century a happier vanished. nostalgia whereas existence French writers, Gerard de Nerval and Charles Baudelaire, write poetry haunted by memory and time. Their remembrances of lives past reveal clear differences of style and attitude toward times and places beyond the writer's traditional persona. JOSEF SCHMIDT, McGill University, "Duerrenmatt and the Grotesque: Falling Behind Reality." Friedrich most of technique anachroni his first The Deadl failed to the two the plot Duerrenmatt has used the grotesque in his plays. An integral part in his is the function of deliberate sms in the Brechtian tradition. Taking and his last play (It is written, 1947 ine, 1980), I want to show how he has attain the level of the grotesque that historical episodes serving as a basis for entail: an anabaptist republic in the 19