Sat. 11-12:30 Cont.
C. W. Sullivan III, East Carolina University.
demonstrates Wilson Bryan Key's premise in
Subliminal Seduction that advertising's persuasive
powers are derived from
ANTHONY AMBR0GI0, Wayne State University, "Horror
Films' First Sex Symbol: Woman as All Things to
Before King Kong (1933), Fay Wray was already
horror films' first Sex Symbol; her presense
virtually guaranteed a horror movie's aberrant
sexuality (e.g., she was lusted after as a hunting
prize in The Most Dangerous Game — 1932 — and
perversely worshipped in Mystery of the Wax Museam
— 1933). William Troy notwithstanding, no wonder
Kong is so rife with sexual tension — especially
since miscegenation and rape were popularly
associated with apes anyway. But Kong ultimately
stands these concepts on their ear: its ape
becomes a noble savage; like the film's two men,
adolescent Kong gains maturity through the love of
a good woman.
CHAIR: Richard Mathews, University of Tampa.
CHARLES PLATT, SF author, New York City,
Appreciation of Brian Aldiss."
A conversational discussion of Brian Aldiss' work
in relation to the process of SF publishing.
Charles Piatt was a staff member of the
influencial SF magazine New Worlds and as such was
a participant in the innovative new movement in SF
which originated in England and was associated
with that magazine.
PATRICK G. MCLEOD, Jacksonville
A discussion of Brian Aldiss' novel Frankenstein
Unbound as it reflects the author's stylistic and
thematic interest, and as it expresses an enduring
motif in SF.
RICHARD MATHEWS, University of Tampa, "Failed Horse
or Failed Rider? The Question of Human Failure in
the Fiction of Brian Aldiss."
In a startling range of short stories and novels,
Brian Aldiss returns to the problem of failure —
failure of men and machines, and even of whole
species and civilizations. His books examine the
origins of a failure of enormous proportions as he
searches for reasons and causes in the primitive
past as well as in the far-distant future. By
examining two early treatments of the problem in
the short story, "The Failed Man" and the novel
Non-Stop, this paper identifies the scope of the
problem in Aldiss' fiction and suggests how the
author begins to answer the questions he raises.
ARTHUR AND MERLIN
IN CONTEMPORARY DRESS
RAYMOND H. THOMPSON, Acadia University, "The Immortal
Enchanter: Merlin in Modern Fantasy."
Alan Garner in the Alderley Books, C.S. Lewis in
That Hideous Strength, and Susan Cooper in The
Dark Is Rising series all enlist a revived Merlin
as a powerful champion fighting for the cause of
good against evil. However, they deliberately
burden him with responsibility so that the young
protagonists have freedom to learn and develop
maturity. In each case good triumphs. Yet just
as the stuggle between good and evil can never be
concluded while humanity endures, so Merlin, the
exponent of good, cannot die. Instead he
withdraws from mortal sight once again.
VEATRICE C. NELSON, Morehouse College, Atlanta,
"Between Two Merlins: The Quest of a Modern
Arthur in John Le Carre's Smiley Trilogy."
In John Le Carre's three espionage thrillers about
George Smiley, the gentlemanly British secret
agent par excellence, Arthurian matter supplies
many obvious images. The dual nature of Merlins
appears in the antithetical characters Control and
Karla, respectively heads of the British and
Russian intelligence agencies; and Arthur takes on
the form of George Smiley, the middle-aged
intelligence expert and hero of the trilogy. The
legendary figures are more than simply informing
spirits for the major characters, though. The
difference between the polarities of Merlin's
nature provides the tension for the trilogy's main
action and Arthur's dilemma with love and loyalty
provides the motivation for Smiley's movements.
THE VAMPIRE: CONTEMPORARY VARIATIONS
CHAIR: Leonard G. Heldreth, Northern Michigan
RAYMOND T. MCNALLY, Boston College, "Some Recent
Cases of Vampirism in History and in Films since
After the 1940's the vampire fell on hard times in
the movies; during the late Fifties American
International Pictures linked the theme with
teenagers. Horror of Dracula (1958) represented
the harbinger of a new, creative effort to revive
the vampire theme, resulting in Daughters of
Darkness (1970), Immoral Tales (1974), In Search
of Dracula (1972), the TV Dracula with Jack Palance
(1973), Martin (1977), and a TV Count Dracula with
Louis Jordan (1978), which all contributed to the
development of the genre. What I call "The
Vampire Flood of 1979" took place with the release
of Werner Herzog's Nosferatu, Love At First Bite,
Salem's Lot, and Dracula with Frank Langella.
Reference will also be made to recent cases of
vampirism, such as a documented case of
autovampirism in 1964 and the court trial of a
self-proclaimed "living vampire" in 1981.
VIRGINIA A. HARGER-GRINLING, Memorial University of
Newfoundland, "Interview with the Vampire and
Heloise: Two Contemporary Variations on the Theme
of the Vampire."