THURSDAY, 4 - 5:i0 P.M.
THURSDAY, MARCH 24
4-5:30 P. M.
ASPECTS OF THE FANTASTIC IN THE THEATRE OF THE ABSURD
AND THE FRENCH SHORT STORY
Chair: Jean-Pierre Lalande, Moravian College, Pennsylvania.
Sylvie Pantalacci, Colgate University, New York. "A
Fantasy Where Art Quickens the World of Love and
This analysis deals with two nineteenth century
short stories ("The Venus of Ille" by Prosper
Merimee, and "Omphale" by Theophile Gautier), in
which an art form comes to life. Are there any
hints of modern attitudes in these texts?
Michael H. Palmer, Louisburg College, North Carolina.
"The Use of the Double in Beckett's Waiting for
Godot and Other Plays."
In several of his plays, especially Waiting for
Godot, Samuel Beckett fulfills in his characters
the definition by C.F. Keppler of the double, or
second self: the imaginative creature, that
shadowed self responsible for the dynamic tension
between selves, the self that intrudes upon the
first and establishes a relationship in close
affinity that neither desires nor understands.
Beckett's Vladimir/Estragon, Pozzo/Lucky, Hamm/
Clov, Nagg/Nell, Winnie/Willie, and Krapp/earlier
selves are clever and artistic uses of the double
used to explore the cruel and inexplicable nature
of human existence.
Jean-Pierre Lalande, Moravian College. " The Fantastic
and the Absurd in Ionesco's Theatre."
In Ionesco's theatre, we are often confronted with
a fantastic situation where matter suddenly seems
to come to life and invade everything. We shall
examine a few plays where this phenomenon occurs
and see how such a fantastic device symbolizes an
alienating force insofar as it crushes man,
deprives him of his freedom of action, and isolates him from his peers.
BLAKE AND FROST: RECONCILING OPPOSITIONS
Chair: Michael Collings, Pepperdine University, and
Bertha Keveson Hertz, St. Hyacinth College & Seminary, Massachusetts.
Whitlark, Texas Tech University. "Divided Mind
in Blake: Songs of Innocence and of Experience."
The typically complex relationship between text
and picture in illustrated fantastic poetry may
involve contradiction between the two hemispheres
of the human brain: the left dealing with logic,
language systems, and time; the right controlling
spatial perception and analogy, with little if any
sense of the temporal. In Blake's Songs the illu
strations are generally closer to the Eternal (and
thus for Blake truer) perspective than the literal
reading of the text. But the poems' ambiguities,
which shatter ordinary logic and temporal sequence, bridge the separation between timeless and
A. J. Montesi, St. Louis University. "Fantasy and the
Terror Image in the Poetry of Robert Frost."
Too often, Frost has been labeled the sunny poet
who provides us with positive affirmations of our
role as earthlings and Americans in our own and
future times. But Frost has his own gallery of
misshaped men, a whole closet of ghosts, and a
sizable kettle of psychological horrors. If we
look closely enough we can see that Frost makes of
his map of New England a Gothic waste as foreboding as any in Poe or Mary Shelley. By balancing
these repugnant items with positive ones he produces the bite and piquancy that makes his poetry
some of the best of its time.
LITERATURE OF SUBVERSION II: THE FANTASTIC AND THE
FAIRY TALE IN THE NINETEENTH CENTURY
Chair: Gary K. Wolfe, Roosevelt University.
Bernadette Bosky, Duke University. "'What Was It?'
and 'The Damned Thing': Invisibility and
Two tales by Fitz-James O'Brien and Ambrose Bierce
on the theme of the invisible adversary make for
an excellent comparison because of similar subject
matter and differing literary and philosophical
approaches, particularly when viewed in terms of
Todorov's distinction between the uncanny and the
Jack Zipes, University of Wisconsin,
Socialist Fairy Tales."
Abstract not available.
Jules Zanger, Southern Illinois University. "The Fairy
Tale as Captivity Narrative."
Abstract not available.
REFLECTIONS AND REFRACTIONS: GEOMETRY AND MIRRORS IN
LITERATURE OF THE FANTASTIC
Chair: Virginia Harger-Grinling, Memorial University of
Grant Crichfield, University of Vermont. "Full
Circle(s) in Nodier's La Fee Aux Miettes."
In La Fee aux Miettes, narrative, temporal and
spatial structures; metaphor and symbol; even the
philosophical and mythic underpinnings are circular in nature and serve as a prefiguration at
every level of the unity and ulterior existence
for which the tale's central character strives.
Further, frequent allusions to circular movements
and objects punctuate the text at every turn.