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.
THOMAS BURNETT SWANN
CHAIR: Robert A. Collins, Florida Atlantic University.
JOY M. SCHWAB, Florida Atlantic University, "The
Archetypal Matriarch in the Fiction of Thomas
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
s his works
re and the
in myth and
JERRY HOLT, Palm Beach County Schools, "Partita:
Renewal in the Fictional Works of Thomas Burnett
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.
Swann's widely varied treatment of
LEIGH HUNT, Florida Atlantic
Symbols in Swann's Novels."
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.
are the symbols
of the symbols
their use is
a pattern of
DREAM AND FANTASY IN FILM
CHAIR: James Van Dyck Card, Old Dominion University.
YOLANDA A. PATTERSON, California State University,
Hayward, "Fantasies of Women in the Films of Jean
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
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
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.
MADNESS AND THE FANTASTIC