Fri. 4-5:30 Cont.
CHAIR: William Coyle, Florida Atlantic University.
DAVID KETTERER, Concordia University,
Acquaintance': Mistress Hibbins and
Design of The Scarlet Letter."
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.
LATIN AMERICAN FICTION WRITERS AND
THEIR PERSPECTIVE ON FANTASY:
PART I—20TH CENTURY NOVELISTS AND
SHORT FICTION WRITERS
CHAIR: P.A. Pardinas-Barnes, Georgetown University.
JULIA G. CRUZ, Washington State University,
"Fantastic Fiction in Bombal's House of Mist."
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
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
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
In addition to
SF has been
THE VAMPIRE: CONTEMPORARY VARIATIONS
CHAIR: Leonard G. Heldreth, Northern Michigan
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