Fri. 9 -10:30 Cont.
sixteenth century gone mad; and
Generalissimo Franco, respectively.
the death of
CONSTANCE D. MARKEY, Loyola University, "A Concept of
Birth and Rebirth: Somewhere in Time."
(Szwarc/Universal, 1980), explores the ancient,
even primordial,, religious myth of the eternal
return with its comforting, cyclical concept of
history and its reassurance of man's rebirth and
immortality. As an expression of the primevel
drama, the film, like one of its earlier
precursors Kubrick's 2001. A Space Odyssey,
manifests man's deepest desire that his world, or
some positive aspect of it, will always be here.
In a more romantic Nietzschean vein, the film
allegorizes the modern overman's will to surmount
the limitations of mortal bonds.
FANTASY IN LATIN AMERICAN FICTION
CHAIR: P.A. Pardinas-Barnes, Georgetown University.
MORTON P. LEVITT, Temple University, "The Fantastic
Ordinariness of Three Trapped Tigers."
What makes the famed Magic Realism of current
Latin American fiction so extraordinary is not so
much the events it describes as the lens through
which it sees those events, a lens which assures
us that these incredible affairs are, in fact,
really mundane. It is this combination of the
ordinary and the fantastic which distinguishes this
from all other fictions. Guillermo Cabrera
Infante's Three Trapped Tigers illustrates
wonderfully the unique union of vision and event,
of politics and language, of indigenous (Cuban)
and borrowed (Joycean) sources which characterizes
the most vital and challenging fiction of our day.
MICHAEL CAP0BIANC0, St. John's University,
"Statistical Experiments with Hopscotch."
In Hopscotch Julio Cortazar anticipated to some
extent the idea he brought to fruition in "62: A
Model Kit," namely, that of allowing the reader a
certain amount of freedom in choosing the book he
wishes to read, i.e., becoming a
"reader-participant," a "reader-coauthor." Four
experiments with this novel, carried out in this
spirit, are described, two of them involving
statistical sampling of chapters.
P. A. PARDINAS-BARNES, Georgetown University,
"Fuentes' Fantastic Witches: 'Aura' and Other Short
Carlos Fuentes' interpretation of the feminine
mystique through magic is readily found in "Aura"
and some of his other short fiction. An analysis
of certain characters shows Fuentes' vision of the
MODERN VISION IN BLACK AND WHITE LINES
CHAIR: Joan Digby, C.W. Post College
MARTHA SUTHERLAND, University of Arkansas, "Aubrey
Beardsley: Art and Fantasy."
Aubrey Beardsley is known to the world as a master
of black and white design who held an unwelcome
mirror up to the vices of his age. In his short
life art and illness were the only realities: the
images they produced mocked the righteous and
repressive Victorian reality. He was also a
writer, and this paper will explore some of the
ways in which the fantasies that he wrote about
became the fantasies he drew about, which became
the fantasy by which he lived and died.
HEIDI E. FALETTI, Pennsylvania State University,
Behrend College, "The Lines of Beardsley and
Letcher with the Words of Wilde and George."
the-century Art Nouveau offers emphasis on
surface elements of design, such as
lines, words, and musical Leitmotifs.
rface elements bring about the Gesamtkunst
ion of different mediums with each other,
example, painting and architecture or
tion and poetry. Beardsley's sketches for
Salome and Melchior Lechter's
tions for some of Stefan George's lyric
demonstrate such a dynamic decorative
JOHN DIGBY, "Working in Black and White:
Collage is a medium closely linked to texts and
for that reason is strongly rooted in origins of
black and white. The roots of collage are also
political, stemming from a conscious rebellion
against art. This talk will present a personal
view of collage as a form (first linked to my
poetry) that I choose to explore purely in black
and white, a medium which derives in imagery from
engravers such as Samuel Palmer, Gustave Dore, and
ORDER AND THE FAILURE OF FANTASY/FILM
CHAIR: Richard E. Hersh, University of Florida.
PHIL KUHN, University of Florida, "The Love of
Characterization: How the Image is Subordinated
in Blake Edwards' JO.
In choosing JK) for the title of a movie, Blake
Edwards sets forth an ideal for the movie viewer, a
hierarchy for the moving color image based
strictly on the conceptual rigors of the mind. In
contrast, the motion and color of Bo Derek's image
defy naturally these categorizations. There is,
moreover, a tension in the movie resulting from
Derek's image's freedom and Edwards' and Dudley
Moore's subordination ultimately of its powers to
a grand idea of life itself. The tension comes to
a climax in the aborted lovemaking scene between
Derek and Moore, a scene which shows that the