generations. One well-known tale, "How the Rabbi
Was Changed into a Werewolf," is especially
interesting for its connections to medieval Latin
and English sources. Its peculiar brand and
misogynistic ethics will be described.
HARRIS LENOWITZ, University of Utah, "A Fairy Tale of
Historically, "Frank-ism" derives from Lurianic
and Sabbatean figures, and ideologically from
Gnosticism and Sabbatean mythology. This paper
traces the Frankist movement, its hagiographic and
allegoric backgrounds, and presents an analysis of
the allegorical structure of the tale.
GAMES IN LITERATURE
CHAIR: Laurence Donovan, University of Miami.
BUD FOOTE, Georgia Institute of Technology, "The
Board and the Book."
The board game (or spacial map) has been utilized
in fiction from Alice in Wonderland through John
Brunner's Squares of the City and Faulkner and
Joyce. This paper considers the fading of this
practice as fixed territoriality, is replaced in
our day by interior psychology.
CAMILLE LA BOSSIERE, University of Ottawa, "A
Capricious Algorithm: Alain Robbe-Grillet's Game
in L'Annee derniere a Marienbad."
In this examination of the use of the mathematical
game of Nim in L'Annee derniere a Marienbad, it
becomes clear that in affirming the independence
and efficacy of the "I" to escape a repetition of
analogous actions, Robbe-Grillet dramatizes his
own static, neutral role as narrator.
TOM SMITH, Castleton, Vermont, "Some Traffic:
A reading of anagrammatic poems of great wit and
FILM FANTASY AS
CHAIR: Mike Budd, Florida Atlantic University.
DOUGLAS GOMERY, University of Maryland, "The Movie
Made-for-Television: Sports Fantasy and
Fantasy may be examined as an instrument
reinforcing or subverting existing social
attitudes. Films, especially those made for
television about sports figures seem to be based
on a concrete, real world, but in fact portray a
consistently fantastic image — no racial
tensions, no economic conflicts. The best players
win. Athletes in these films die from cancer, not
their football injuries. I shall analyze what was
the first "hit" TV movie, Brian's Song, a "love
story" between two football players. Slides from
the film illustrate the talk.
NANCY KETCHIFF, North Carolina State University,
"Modernism and the Representation of Fantasy:
Cubism and Expressionism in The Cabinet of Dr.
By around 1915-1920, the various commercial film
industries, led by Hollywood, had developed a mode
of film discourse, realist narrative, which was
capable of articulating fairly complex differences
between the registers of fantasy and an
omniscient, naturalized reality. At about the
same time, though, two important modernist
movements, Cubism in France and Expressionism in
Germany, were in different ways and to different
degrees challenging the very realist,
illusionistic tradition in painting from which the
new filmic discourse partly derived. One of the
first films to bring together these conflicting
modes of realism and modernism was The Cabinet of
Dr. Caligari, made in Germany in 1919. In it we
can see aspects of both Expressionism and the more
radical Cubism as they inflect the film's
representations of fantasy, insanity, and reality.
ALLAN HIRSH, Central Connecticut State College,
"Uncanny Affect in the Horror Film."
Does the uncanny in horror films stretch to one's
thinking things into being? Is introjection
projected in the dark? In the acceptable horror
film, the inanimate thought becomes animated.
Within the film, the anxiety-arousing fantasy is
managed and ceases to be a mystery. Finally, form
ANIMALS IN MYTH AND LEGEND
CHAIR: Christa-Maria Beardsley, Indiana University
at South Bend.
DUNN, Stetson University, "The Dragon is
He Is Alive and Well in the Earthsea
Have the dragons of antiquity become nothing more
than symbols, fantastic creatures which have no
place in serious literature? Ursula LeGuin's
answer in the Earthsea Trilogy is a resounding
"No!" as she restores the legendary fire-drake to
his rightful place as the embodiment of the
incomprehensible forces of darkness. Modern man
must realize, says LeGuin, that these forces must
forever lie beyond the purview of his
comprehension, and that if he is to cope with such
inevitable aspects of human life as evil and pain
and death, then it is to myth and imagination —
it is, in essense, to the dragon — that he must
once again return.
ROBERT CASILLO, University of Miami, "Ruskin and 'The
Place of the Dragons'."
Ruskin's "The Place of Dragons" not only contains
a sustained reading of Carpaccio's St. George and
the Dragon but in effect appropriates that
painting as a vivid ideogram of Ruskin's life and
works, a visual summary of Ruskin's main goals and
conflicts. The Dragon assimilates to Ruskin's
negative principle or "The Lord of Waste"; it is an
overdetermined symbol of impurity,