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Third International Conference on the Fantastic in the Arts, Program
Page 27
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International Conference on the Fantastic in the Arts. Third International Conference on the Fantastic in the Arts, Program - Page 27. 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/1199.

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 27. 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/1199

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 27, 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/1199.

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 27
Format (IMT)
  • image/jpeg
File Name uhlib_1984_003_b057_f014_040_028.jpg
Transcript Fri. 4-5:30 Cont. CHAIR: William Coyle, Florida Atlantic University. DAVID KETTERER, Concordia University, Acquaintance': Mistress Hibbins and Design of The Scarlet Letter." "'Circle of the Hermetic With regard to his Puritan ancestors, Hawthorne found himself in double bind situations: his being an isolated writer conflicted with his guilty admiration for their practical careers and a belief in the value of communal involvement; his historical presentation of witches as "evil" beings tended to endorse the judgments of one particularly misguided ancestor, John Hathorne, who condemned witches to death during the Salem witchcraft trials of 1692. Both quandaries are reflected in Hawthorne's treatment of Mistress Hibbins, the oddly prominent witch in The Scarlet Letter. Like the historical Ann Hibbins, Mistress Hibbins is discovered to be an unsuspectedly positive figure. Presented as a person intimately related to others, she provides a link between Pearl and Chillingworth and thus heals a breach in the circle of relationships formed by Chillingworth, Dimmesdale, Hester and Pearl. GERALDINE BALZER, University of Waterloo, "Masks in The Blithedale Romance." In The Blithedale Romance, Hawthorne uses much of the dramatic tradition in order to portray the nineteenth-century search for Utopia in America. Through his use of theatrical devices, especially the mask and masquerade, Hawthorne is able to make a statement on life and, more specifically, the American search for Utopia. Hawthorne has successfully emphasized the artifice of the attempted Utopian society by revealing the masks of each individual and exposing the various masquerades acted at Blithedale. 48 LATIN AMERICAN FICTION WRITERS AND THEIR PERSPECTIVE ON FANTASY: PART I—20TH CENTURY NOVELISTS AND SHORT FICTION WRITERS Room 110 CHAIR: P.A. Pardinas-Barnes, Georgetown University. JULIA G. CRUZ, Washington State University, "Fantastic Fiction in Bombal's House of Mist." initiate what was The House One of the First literary works to some critics call the neo-fantastic of Mist (1935) by Maria Luisa Bombal of Chile. This short novel or long short story may be considered as representative of the transition from the traditional fantastic European fiction (up to and including that of the 19th century) towards the contemporary fantastic literature of In addition, The House "pure fantastic' which international scope today. of Mist fits the genre of Tordorov has identified as the theoretical ideal of fantastic literature. MICHAEL H. PALMER, Louisberg College, "The Use of the Double and Other Fantastic Devices in Elena Garro's The Lady on Her Balcony." Elena Garro's one-act play The Lady on Her Balcony is prominently a fantasy play: it develops thematic motifs that are escapist in their preoccupation with time; it is written in a language that is poetic, lyrical, rhythmical; its themes and ideas are carried largely through recurrent symbols that both suggest the fantastic and underscore other fantasy elements; its structure suggests a movement through three ritualistic dances; and most importantly, the play employs the literary double, versions of fifty-year-old Clare (its central characters) as a schoolgirl, at age twenty, and at age forty. It is a bitter, anti-existentialist play. ANGELA DELLEPIANE, City University of New York, "Critical Notes on Argentine Science Fiction Writers." Argentinian science fiction is examined since its beginnings in the 19th century through the present. It is a literature of cognitive estrangement, using and judging utopic and anti-utopic character. standard traits, Argentinian distinguished by social philosophical projection, as shown in a variety of novels and short stories, critical articles, and current attempts to gain respectability for this "paraliterary" form. science, having In addition to SF has been criticism and 49 THE VAMPIRE: CONTEMPORARY VARIATIONS SESSION II Suite 116 CHAIR: Leonard G. Heldreth, Northern Michigan University. MARY FERGUSON, West Georgia College, "The Hunger Plague: Stephen King's Ravenous Vampires." While the traditional image of the vampire is that of a sensual, solitary figure, there is another strain, less sexual than starving and not at all isolated: the hungry breed, a massive swarm of creatures made predatory by a hellish plague. Films such as The Last Man on Earth and The Fearless Vampire Killers elaborate on this theme, but Stephen King's Salem's Lot best details its infectious spread. Even after the master vampire who has attacked Jerusalem's Lot is destroyed, his victims remain, ravenous hordes who once were people but who now exist only to feed on blood. Their plight parallels that of the flesh-eating ghouls in the Living Dead films. In both, the soul dies; the appetite lingers and becomes all-consuming — the ultimate allegory of mob lust. ANTHONY AMBR0GI0, Wayne State University, "Dracula's Progeny: Consanguinary Ties." Despite the phenomenal success of Dracula (1931), Hollywood filmmakers were slow to capitalize on the vampire's — particularly the female vampire's — potential. Dracula's Daughter (1936), released at the end of the first horror cycle, was an anemic reworking of Dracula, but Universal's next follow-up, Son of Dracula (1943), made during the peak of the second horror cycle, presented despite its title — a truer daughter of Dracula than the previous film's title character. Kay . 28