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Third International Conference on the Fantastic in the Arts, Program
Page 20
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International Conference on the Fantastic in the Arts. Third International Conference on the Fantastic in the Arts, Program - Page 20. 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/1192.

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 20. 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/1192

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 20, 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/1192.

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 20
Format (IMT)
  • image/jpeg
File Name uhlib_1984_003_b057_f014_040_021.jpg
Transcript . image is to be used intellectually and will not be allowed its inherent powers The power of activation in subordinated to a condition seen in Moore's seduction of Julie Andrews in a living medium. Derek's image is of transference as near the movie's ending. JOHN PIETERS, University of Florida, "The Movie as Playground: Kubrick's The Shining." In The Shining, Kubrick has told two concurrent and interpenetrating stories: the first deals on the fairytale level with Oedipal conflict between a father and son, expanding outward to consider the conflict between the rational and the imaginative, work and play, the divided self and the integrated self. The second story is a meditation on the aesthetics of moviemaking, and most particularly on the dual nature of the act, involving as it does a creation of color in motion which can only come into being through a long, logistically complex process of rational ordering. A series of brilliant identifications between the camera eye and the vague malevolent force in the movie leads us to the conclusion that the monster here is the camera, manifested by Jack Torrance, and that when Danny breaks out of the frame near the end, he escapes the movie as much as he escapes his father. HOWARD D. PEARCE, Florida Atlantic University, "Shining as Lichtung: Clearing." Kubrick's Movie, Heidegger's Stanley Kubrick's The Shining demonstrates the problematical relationship between theories of art: art as pleasurable activity, art as revealing "truth." Martin Heidegger's theory of truth a alethia, involving Lichtung ("clearing," and as Heidegger plays metaphorically, "shining forth"), suggests a way of approaching the film and the way its images appear, "shine." The film's manifold repetitions and mirrorings "let appear" a theme of reflexivity, the work of art revealing "absent" structures as do Halloran's and Danny's shinings. 33 DEATH AND REBIRTH MOTIFS AND FANTASY Room 118 CHAIR: Judith Ortiz Cofer, University of Miami. JULIENNE H. EMPRIC, Eckerd College, "Death Show and Shakespeare's Comic Fantasy." The death show is a unique culmination of plot-making within Shakespeare's plays, whereby characters are thrust into an intense internal fantasy designed to reform or transform them, and give them the experience of posthumous life. This study examines the structure I have chosen to call the death show—in general, and in the instance of Much Ado About Nothing, the first in a series of comedies and romantic comedies to make use of the structure. Session VIII, Friday, 11 a. m.-12:30p.m. Film: A CLOCKWORK ORANGE Coral Ballroom 11:00 a.m. - 1:20 p.m. 1971, Great Britain (Warner Brothers). Directed by Stanley Kubrick. With Malcolm McDowell, Patrick Magee, Adrienne Corri, Aubrey Morris, James Marcus. Slightly cut R-rated version. "I...think it spoils a great deal of the pleasure of the film for anyone who happens to have been unfortunate enough to have read what the filmmaker 'has in mind.' As a member of the audience, I particularly enjoy those subtle discoveries where I wonder whether the filmmaker himself was even aware that they were in the film, or whether they happened by accident." — Stanley Kubrick. AUTHORS' WORKSHOP Sandpiper Room 11 a.m. JACQUELINE LICHTENBERG, reading Rensime! an excerpt from Jacqueline Lichtenberg is the author of the popular Sime/Gen science fiction series , and her reading is drawn from the most recent volume, the sixth. She has also collaborated with Jean Lorrah on two novels, First Channel and Channel's Destiny. Her latest work, Molt Brother (Playboy Press) begins a new series based on human/machine relationships. 12 noon JEAN LORRAH, reading an excerpt from Channel's Destiny, forthcoming from Doubleday in November. Jean Lorrah is Professor of English at Murray State University, associate editor of Pandora, and the author of The Savage Empire series for Playboy Books. She is also collaborating with Jacqueline Lichtenberg on a second series, of which Channel's Destiny is a part. 1 p.m. P. C. HODGELL, reading "Rattle Together," written especially for the conference. a story Pat Hodgell is a veteran of the Clarion Science Fiction Workshop, and sold her first Clarion story to Harlan Ellison for Last Dangerous Visions. She has since published in Berkeley Showcase #2 and novel, God Stalk due out from Atheneum this she is doing a dissertation on has a fall. Meanwhile, Sir Walter Scott at the University of Minnesota. STEVEN C. WALKER, Brigham Young University, "Resurrectional Narrative in The Lord of the Rings." (No abstract available.) 34 FANTASY IN THE WORK OF TOM STOPPARD: I Seagrape Room CHAIR: H. D. Pearce, Florida Atlantic University. 21