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Third International Conference on the Fantastic in the Arts, Program
Page 25
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International Conference on the Fantastic in the Arts. Third International Conference on the Fantastic in the Arts, Program - Page 25. 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/1197.

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 25. 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/1197

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 25, 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/1197.

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 25
Format (IMT)
  • image/jpeg
File Name uhlib_1984_003_b057_f014_040_026.jpg
Transcript Fri. 2-3:30 Cont. of basic limitations that a patriarchal society has imposed on women, including the lack of sexual freedom. The tales give solutions to these problems, hidden behind a curtain of fantasy. ANDRAS SANDOR, Howard University, Washington. "Miraculous Satire in Hoffmann's 'Little Zaches.'" The fantastic merges with irony and satire in stories based on the conviction that natura facit saltus, that all transendence occurs in a monistieally immanent world. The distinction between nature and culture is paradox in such a view, since culture, too, is nature; the non-conscious mind, too, is mind. The 'natural supernatural' springs from an 'immanent transcendence.' This thesis is argued and exemplified with reference to E. T. A. Hoffmann's longer tales, especially "Little Zaches," one of his best tales of a miraculous reality, which is at the same time a satire comparable to Swift's. WILLI WINKLER, Washington University. "Classical Antiquity demonized in Eichendorff's The Marble Statue and A Sea Journey." Eichendorff's Antonio in A Sea Journey and Florio in The Marble Statue exemplify the crisis of adolescence which must be overcome to lead a satisfying life. Eichendorff demands that his male characters resist the threat of a nature which he has demonized throughout his writing. In this context nature frees the irrational forces which can be awakened in all beings and which are symbolized in an anachronistic Venus figure from classical antiquity that endangers the young man. Thus, for Florio a marble statue comes to life as an expression of threatening sensuality; Antonio believes himself to be trailed by a resurrected mummy who is mesmerizing him. 43 THOMAS BURNETT SWANN Suite 112 CHAIR: Robert A. Collins, Florida Atlantic University. JOY M. SCHWAB, Florida Atlantic University, "The Archetypal Matriarch in the Fiction of Thomas Burnett Swann." These forms may be categorized as metamorphosis, sacrifice and reincarnation. A number of examples of each of these are discussed in order to In time, setting and focus Swann place in pre-Christian mythical eras. Pho Ladies, Minikins and Gods abide the symbolism and imagery of "The Great abound there. In Swann's tales of ini quest, elementary and transformative based in Neumann's concept of "The Gr and reveals the matriarchal influence legend. s his works enixes, Bee re and the Feminine" tiation and imagery is eat Mother" in myth and JERRY HOLT, Palm Beach County Schools, "Partita: Renewal in the Fictional Works of Thomas Burnett Swann." Renewal is a constant theme throughout the works of Thomas Burnett Swann. In most cases, he refused to see events as ultimately final. His treatment of the renewal theme took several forms. illustrate renewal. Swann's widely varied treatment of LEIGH HUNT, Florida Atlantic Symbols in Swann's Novels." University, "Mystic The three great classes of symbols Evelyn Underhill in mystical present in Swann's novels. They of the journey, human love and purity and perfection. An analysis in Swann's The Not-World shows that not random, but consistent with spiritual development composed of and called the Mystic Way. identified by literature are are the symbols marriage, and of the symbols their use is a pattern of several stages 44 DREAM AND FANTASY IN FILM Suite 116 CHAIR: James Van Dyck Card, Old Dominion University. YOLANDA A. PATTERSON, California State University, Hayward, "Fantasies of Women in the Films of Jean Cocteau." In Beauty and the Beast and Orpheus, Jean Cocteau has chosen a world of fairy tale, dream and legend as a background for his portrayal of four very different women. Belle is the innocent, naive young girl reluctant to leave her father and embark upon an adult relationship with another male. Eurydice, devoted, pregnant, and insecure, is seen as an encumbrance to poetic inspiration by Orpheus, who is passionately attracted to the svelte and seductive Princess of Death. Aglaonice represents the man-hating female, a raging modern counterpart of the Bacchantes who tore Orpheus apart limb from limb. LEONARD HELDRETH, Northern "Dream and Fantasy in the DePalma." Michigan University, Films of Hitchcock and This paper will examine the form and function of dreams and dream imagery in Hitchcock's films, and compare this use to that of Hitchcock's most obvious imitator, Brian De Palma. The major discussion will center on Hitchcock's Spellbound, Vertigo, and Marnie, and on De Palma's Obsession, The Fury, Carrie, and Dressed to Kill. JAMES VAN DYCK CARD, Old Dominion University, "Fantasy and Movie Magic in Korda's The Thief of Baghdad." The fairy tale quality of certain special films that impress us when we are children also delights later generations of children, and it turns adults into children again when they recover the initial experience of such films. In the 1930's Hollywood had this quality. One of the enduring fantastic films is Alexander Korda's The Thief of Baghdad, its visually imaginative scenes effected by special effects and color. 45 MADNESS AND THE FANTASTIC Room 118 26