Friday, 9 - 10:30 a.m.
texts provide vary: ten say "no"; six say "yes."
The purpose of a Supreme Being in Herbert's fiction is to pull man back from destruction in order
that he be able to continue to adapt, modify, and
evolve. The transformations wrought are genetic;
and, ironically, the man in whose image the god is
created is pushed, by the god, into an image that
does not mirror the god. What is important in
such texts as the Dune series is the concept of an
evolutionary dynamic of a "Pattern."
Peter W. Macky, Westminster College. "Religion in C.S.
Lewis' Till We Have Faces."
Till We Have Faces is the only one of C.S. Lewis'
novels in which there is substantial, overt description and criticism of human religious beliefs
and practices. In this novel, religion is ambiguous, standing in fruitful tension with rationalism which is represented by the Fox who is
described as a Greek. The most interesting characteristic of the ancient religion depicted is
that it is to a certain extent shown as both a
true representation of divine reality and a
destructive institution. Implicit in Lewis' novel
is criticism of both extremes: irrational
fundamentalism and rationalist modernism.
Judith J. Kollmann, University of Michigan at Flint.
"The Tarot at Christmas Time: Charles Williams'
The Greater Trumps."
As all Charles Williams' novels do, The Greater
Trumps deals with occult phenomena — in this
case, with the ability of the Tarot pack to predict the future. Williams' promise is that, if the
pack can be used for clairvoyant purposes, then in
some way it is connected to the supernatural forces of the universe; and, because he was a Christian, to Williams the Tarot becomes a tool of God.
Further, the tarot pack in the novel is the archetypal deck, the first to be created; as such, it
has special properties: not only does it fore-tell
the future, but it also can bring about magical
.transformations. Used during the Christmas season,
| those cards result in the birth of a new Messiah.
THE EVOLUTION OF FANTASTIC ANIMALS: THREE SLIDE
Chair: Joan Digby, C.W. Post College, L.I.U.
Vernie M. Logan, Baylor University. "The Dragon as
Evolving Artistic Invention."
The dragon as a symbol of fear is an expression of
western man's fear that reaches back into prehistory. Changing an abstract concept into a
figurative image, artists progressively rendered
the dragon with increasing realism. As it
proceeds from abstraction to figuration, the
dragon follows an evolutionary pattern uncannily
Darwinian. First reptilian, it became increasingly
mammalian then anthropomorphic. It was the artist
who excercised selectivity according to cultural
inclinations and adapted the dragon to meet cultural demands.
Michael Hancher, University of Minnesota. "The Descent
John Tenniel's well-known drawing of the Jabberwock for Lewis Carroll's Through the Looking-Glass
descends from several traditions of monstrous illustration: a contemporary cartoon by George Du
Maurier, which satirizes both Victorian paleontology and "educational" children's literature (the
dream of reason begets monsters); Tenniel's own
obsessive reproduction of St. George's dragon, in
drawings for Punch; and a hideous monster painted
by Salvatore Rosa, which fascinated Carroll's colleague John Ruskin, against his better judgment.
Casey Fredericks, Indiana University. "The Evolution
of Big Bugs in Science Fiction."
With an emphasis on the evolutionary development
of science fiction's "Big Bugs," the lecture will
contrast several ways of envisioning fantastic
insects: (1) the Frankensteinian tradition of
fearing giant, mutant bugs; bugs able to compete
with humans for the mastery of the planet and extinction of the enemy species in a Darwinian survival of the fittest; (2) a satirical, cognitive,
and sympathetic attitude evident in a "menippean"
tradition which includes Lucan, L. Frank Baum,
Lewis Carroll, and Stefan Themerson; (3) the
existential theme of man-as-bug: The Metamorphosis, The Fly, The Incredible Shrinking Man; miniaturization of man vs. enlargement of bugs.
FANTASTIC ART AND ARCHITECTURE
Chair: Eton Curl, Florida Atlantic University.
Jeffrey J. Bayer, The University of Alabama —
Huntsville. "Ave Maria Grotto: Architecture or
This illustrated presentation will describe Brother Joseph's work and explore such issues as: the
relation of the "models" to the actual buildings;
the sense of realism in relation to the fantastic
nature of the creations; the characteristics of a
"folk art environment"; the role and nature of
fantasy as an element of a folk art environment.
William Melczer, Syracuse University."The Fantastic
and the Iconography of Black Magic in the Late
This is a slide lecture on the subject of witches,
imps, devils, and magic images in the Renaissance.
SEXUALITY IN FANTASTIC LITERATURE: FEMINIST VIEWS
Chair: Donald Palumbo, Northern Michigan University.
Brooks Landon, The University of Iowa. "Sexuality and
the Reversal of Expectations in the Fiction of
Russ, Carter, and Berger."
A growing number of works present an "anti-formula" in depicting favorably unexpected sexual roles
— roles that not only differ from, but that also
directly challenge, culture stereotyping. Joanna