Although Truman Capote maintains that he does not
like critics to identify him with his characters,
his fiction begs for such a treatment. A recent
story such as "Dazzle," and Other Voices, Other
Rooms, the novel of thirty-five years ago that
made him famous, each displays Capote's obsession
with his own growth to "maturity." Whether that
"maturity" is something Capote fully understands,
or accepts is an issue which this paper confronts.
VERA F. GOLINI, University of Waterloo, "Mussolini as
Dante's Vergil: Anatomy of a Parody."
CARL B. YOKE, Kent State University.
Rebirth in the Works of Joan Vinge."
The paper studies first the
science fiction Inferno (L.
develops along lines simil
Inferno. Next, an attempt
why the authors have given Be
analogous to that of Vergil,
dwells on the very comica
multifarious parodies whi
entertaining work a kind
manner in which the
Niven and J. Purnell)
ar to those of Dante's
is made at exploring
nito Mussolini a role
Finally, the paper
1 elements and the
ch give this very
of "lunacy of a
USES OF THE DEATH AND REBIRTH MOTIF IN
CHAIR: Donald Palumbo, Northern Michigan University.
THOMAS J. MORRISSEY, State University of New York,
and Richard Wunderlich, College of St. Rose,
Albany, "Death and Rebirth in Pinocchio."
Carlo Collodi accommodates the harsher facts of
mortal existence in his picaresque novel The
Adventures of Pinocchio by using the archetypal
birth-death-rebirth motif as a means of
growth to responsible
success of the puppet's
But on the
structuring his hero's
boyhood. Of course, the
growth is rendered in terms of his
rebirth as a flesh and blood human.
road to rebirth Pinocchio suffers setbacks that
are themselves symbolic deaths and resurrections.
Furthermore, along the way he joins the ranks of
Odysseus, Aeneas, and Hamlet by getting
information and advice from the world beyond;
beneath the book's comic-fantasy texture lies a
symbolic journey to the underworld from which
Pinocchio emerges whole—death and rebirth through
infernal descent as well as death and rebirth
MARILYN J. KURATA, University of Alabama, Birmingham.
"Deliberate Transgression: Death and Rebirth as a
Structural Motif in Herbert Read's The Green
The imaginative variety of Herbert Read's The
Green Child can bewilder as well as charm,
provoking the accusation that Read the novelist
ignored the principle that Read the art critic so
fervently upheld — the supremacy of organic form.
Aside from the figure of Olivero, the protgonist,
one connection among the novel's three disparate
parts is the death and rebirth motif, communicated
through appropriate images. Deliberate
transgression as a structural device also accounts
for the tripartite form with its varied tones,
settings, and narrative concerns.
Hans Christian Anderson's "The Snow Queen" holds
the key to interpreting much of what Joan Vinge
tries to do in her writings. A perfect
illustration of what happens psychologically in
Vinge's stories, this fairy tale delineates the
death of an old self, the passage into and through
a period of alienation, and the birth of a new,
more mature personality. To support and emphasize
the devlopmental pattern of her characters, who
often also pass through a period of alienation to a
subsequent rebirth of a
Vinge frequently employs
and reinforces it with
symbols and motifs.
more mature personality,
a vegetation archetype
several other devices,
MARGARET MCDONALD, Regis College, Denver.
Myth in Sam Shepard's Buried Child."
Buried Child is built upon a mythic narrative of
the death of the corn spirit and the rebirth of
new life as its concomitant. Shepard's use of
this primitive legend lends his 1978 work a
stronger dramatic structure than the earlier plays
possessed and brings it much closer to a realistic
evocation of American family life. Shepard does
not re-tell the primitive folk myth in modern
setting, but he does re-enact several of the old
rituals to lend an aura of mystery and terror to
his tragedy. For instance, in some primitive
enactments of the ancient Egyptian myth of Osiris
the fertility god, strangers were bound in a
bundle of corn sheaves and tormented. Shepard
weaves such mythic rituals into his weird tale of
death and rebirth on an Illinois farm.
FANTASY IN GERMAN ROMANTICISM
CHAIR: Heidi E. Faletti, The Behrend College,
Pennsylvania State University.
DONALD H. CROSBY, University of Connecticut, Storrs.
"Between Two Worlds: Robert Schumann and German
. During the Romantic era German poets and thinkers
found themselves under the spell of a kindred art:
music. Whereas scholars have amply documented the
influence of music on Romantic poetry and prose,
little attention has been given to that of Romantic
literature on German music. Robert Schumann
supplies a striking example of a musician whose
moods and themes show parallels to Romantic prose
and poetry. In his piano music Schuman finds
inspiration in visions of the nocturnal, the
hallucinatory and the fantastic. This paper draws
specific comparisons betreen the "night-side" of
romanticism and Schumann's music.
D. L. ASHLIMAN, University of Pittsburg. "Fantasy
Sex-Role Reversals in Grimm's Fairy Tales."
Grimms' Fairy Tales are for the most part the
creations of numberless generations of women
entertaining their families, and giving expression
to their fears, hopes, wishes, frustrations. Some
of the most fantastic, otherworldly elements in
these tales can be shown to be symbolic rejections