DOCSLIB.ORG

Volume 5 • Issue 1 • May 2021 ISSN: 2514-8915

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Volume 5 • Issue 1 • May 2021 ISSN: 2514-8915 FANTASTIKA JOURNAL Volume 5 • Issue 1 • May 2021 ISSN: 2514-8915 Fantastika Journal • Volume 5 • Issue 1 • May 2021 EDITOR’S NOTE "Fantastika” A term appropriated from a range of Slavonic languages by John Clute. It embraces the genres of Fantasy, Science Fiction, and Horror, but can also include Alternate History, Gothic, Steampunk, Young Adult Dystopic Fiction, or any other radically imaginative narrative space. The goal of Fantastika Journal and its conferences is to bring together academics and independent researchers who share an interest in this diverse range of fields with the aim of opening up new dialogues, productive controversies, and collaborations. We invite articles examining all mediums and disciplines which concern the Fantastika genres. Welcome to this latest issue of Fantastika Journal, one which brings together a truly wonderful array of responses and pieces produced during the unprecedented circumstances of the last twelve months and beyond. We open with an editorial from Rob Maslen as a celebration of the opening of the ‘Centre for Fantasy and the Fantastic’ at the University of Glasgow, UK, and its significance for Fantastika studies. Maslen’s editorial not only documents how such a centre came into existence, but productively asks what such a centre should ‘do’ or what it should be ‘for,’ and how that can help us to interrogate what we mean by Fantasy, the Fantastic, or Fantastika itself. Our first article from Eilis Lee explores the representation of female characters from Naomi Novik’s Uprooted (2015) and challenges whether the apparent progressivism of its central protagonists are effective in fulfilling escapes from objectification or consumption. From this, we transition to Carey Millsap-Spears who also fruitfully engages with the representation of the central female character – Vanessa Ives – in the television show Penny Dreadful (2014-2016) in the context of colonial attitudes and Male/Female Gothic depictions and how the show may open the way for a new version of the Gothic heroine. Following on, Mike Ryder focuses on the role of the super-soldier in relation to the Warhammer 40,000 universe, illuminating how the franchise’s representation of military ethics and states of exception are more relevant than ever in a modern-world of black ops and drone strikes. To conclude, Derek J. Thiess explores the notion of ‘prepping’ in relation to Latourian philosophy by putting into dialogue fantastical and real representation of apocalypticism in a manner that keenly resonates with contemporary circumstances – one which is echoed later in Oliver Rendle’s review of Notes from An Apocalypse: A Personal Journey to the End of the World and Back (2020) by Mark O’Connell. We round out the issue with a wide range of reviews and reports, including reflections on both physical and virtual conferences that have recently taken place. Including contributions on Korean Science Fiction, Indian Children’s Fiction, Alternate History, utopian futures, and Weird Fiction from the fin de siècle to contemporary innovations to name a few, such a sample demonstrates the wonderful creative and critical Fantastika publications released in the last year and beyond. We are deeply thankful to all our authors, reviewers, peer-reviewers, and readers for their contributions and hope you enjoy reading this issue. Kerry Dodd and C. Palmer-Patel Co-head Editors 3 Fantastika Journal • Volume 5 • Issue 1 • May 2021 ACKNOWLEDGEMENTS CO-HEAD EDITORS Charul (Chuckie) Palmer-Patel and Kerry Dodd GENERAL EDITORS Rebecca Duncan, Chris Hussey REVIEWS EDITOR Matthew J. Elder ASSISTANT EDITORS Molly Cobb, Sinéad Murphy PUBLICITY OFFICER Marita Arvaniti DESIGN EDITOR Samuel Valentine CURRENT BOARD OF ADVISERS (IN ALPHABETICAL ORDER) Xavier Aldana Reyes, Brian Baker, Sarah Dillon, Matt Foley, Veronica Hollinger, Rob Maslen, Lorna Piatti-Farnell, Adam Roberts, Catherine Spooner, Sherryl Vint We would also like to thank our peer reviewers and board of advisors for their kind consideration and efforts with this issue. This issue is published by Fantastika Journal. Website registered in Edmonton, AB, Canada. All our articles are Open Access and free to access immediately from the date of publication. We do not charge our authors any fees for publication or processing, nor do we charge readers to download articles. Fantastika Journal operates under the Creative Commons Licence CC BY-NC. This allows for the reproduction of articles for non-commercial uses, free of charge, only with the appropriate citation information. All rights belong to the author. 4 Fantastika Journal • Volume 5 • Issue 1 • May 2021 CONTENTS EDITORIALS THE CENTRE FOR FANTASY AND THE FANTASTIC AT THE UNIVERSITY OF GLASGOW: PRACTISING THE IMPOSSIBLE Rob Maslen 13 ARTICLES “ALL OF HER MADE PART OF […] THE WOOD”: CONSUMPTION, TRANSFORMATION, AND THE LIMITS OF SUBVERSION IN NAOMI NOVIK’S UPROOTED Eilis Lee 18 Dragons, hedge-witches, dashing princes, and a menacing forest: Naomi Novik’s Nebula- winning novel Uprooted (2015) draws on many traditional Slavic and Franco-Germanic fairy-tale patterns, archetypes, and tropes. Continuing the adaptation work of many female writers before her, Novik places women at the heart of her novel, offering its female figures – protagonist Agnieszka, village girl Kasia, scandalous queen Hanna, and the monstrous Wood-queen – roles and powers beyond those which their fairy-tale ancestors could possess. Crucially, Novik attempts to destabilise the dynamics of consumption intrinsic to fairy-tale, in which women are objectified, made passive, and consumed by male gazes and desires. Drawing on the work of folklorists like Cristina Bacchilega and Marcia R. Lieberman, alongside (eco)feminist theory and popular culture scholarship, this article considers the efficacy of Novik’s intervention into these physical, sexual, and figurative consumptive patterns. I assert that through moments of rupture, regeneration, and transformation, Uprooted attempts to break free from the gendered restraints of the fairy-tale model. This transformation is often intrinsically connected to nature: the sentient Wood, Uprooted’s antagonist, is both a corrupting and empowering force, giving Kasia, for example, superhuman strength whilst Othering her from society. Using the scholarship of J. Halberstam, Val Plumwood, and Elizabeth Parker, among others, I thus consider whether naturalisation – a transformative mode typically used to delegitimise and disenfranchise women’s agency and sexuality – and the embracing of dangerous natural forces allow Novik’s women to subvert archetypal fairy- tale stereotypes. Ultimately, however, Uprooted’s interventions into fairy- and folk-tale are not entirely progressive or successful. The novel’s male characters perpetuate damaging stereotypes and consumptive behaviours, including attempted sexual assault; many of its women are punished for expressing their sexuality, ultimately remaining bound to oppressive 5 Fantastika Journal • Volume 5 • Issue 1 • May 2021 CONTENTS heteronormativity and male desires. Even after gaining magical or monstrous power, Novik’s women cannot fully escape objectification or consumption. “WHITE IS NOT MY COLOUR”: PENNY DREADFUL, THE POSTCOLONIAL, AND THE CHANGING GOTHIC HEROINE Carey Millsap-Spears 32 Although much has been written about the traditional Gothic heroine in the seminal Gothic novels, there remains a need to discuss the changing role of female characters in contemporary Gothic televisual texts because these characters often operate outside some of the literary Gothic parameters. The nature of the Gothic genre requires a sacrifice of the female characters, and even Penny Dreadful (2014-2016) as a contemporary Gothic text is not immune to this embedded constraint. This article illustrates both how the conventions of Gothic fiction require the sacrifice of female characters, and how Penny Dreadful, though it presents as a modern, postcolonial series, can still be ultimately discussed as a conservative text. Ultimately, the powerful character of Vanessa Ives does not survive the narrative of Penny Dreadful because she is a transgressive female character in a Gothic structure. Vanessa is not a Female Gothic Heroine in the tradition of Ann Radcliffe, nor is she a Matthew Lewis-like damsel-in-distress from the Male Gothic tradition. Vanessa, through her independent choices, subverts the Gothic heroine, and at the same time, the Gothic, as presented in John Logan’s Penny Dreadful, destabilises colonial attitudes. CONSCRIPTS FROM BIRTH: WAR AND SOLDIERY IN THE GRIM DARKNESS OF THE FAR FUTURE Mike Ryder 47 Games Workshop’s Warhammer 40,000 universe (hereafter referred to as 40k) is one of the biggest and most well-established Science Fiction universes in circulation today. While it has been critically underrepresented to date, this paper seeks to assert the relevance and value of 40k for analysis, and explore some of the real-world implications of the themes the universe explores. Of particular focus in this paper, is the role of the super-soldier Space Marines, and the historical context of the 40k universe, the Horus Heresy. During this time, the Warmaster Horus fell to Chaos, taking many of his brother-Primarchs with him. These events sparked a galaxy-wide civil war between those loyal to the Emperor, and those loyal to Horus. While the individual Space Marines themselves tended to stay loyal to their Primarchs, the whole Heresy reveals a fundamental paradox at the heart of military ethics. Given that the Space Marines are
Load more

Recommended publications
  • Philosophical Transactions, »
    INDEX TO THE PHILOSOPHICAL TRANSACTIONS, » S e r ie s A, FOR THE YEAR 1898 (VOL. 191). A. Absorption, Change of, produced by Fluorescence (B urke), 87. Aneroid Barometers, Experiments on.—Elastic After-effect; Secular Change; Influence of Temperature (Chree), 441. B. Bolometer, Surface, Construction of (Petavel), 501. Brilliancy, Intrinsic, Law of Variation of, with Temperature (Petavel), 501. Burke (John). On the Change of Absorption produced by Fluorescence, 87. C. Chree (C.). Experiments on Aneroid Barometers at Kew Observatory, and their Discussion, 441. Correlation and Variation, Influence of Random Selection on (Pearson and Filon), 229. Crystals, Thermal Expansion Coefficients, by an Interference Method (Tutton), 313. D. Differential Equations of the Second Order, &c., Memoir on the Integration of; Characteristic Invariant of (Forsyth), 1. 526 INDEX. E. Electric Filters, Testing Efficiency of; Dielectrifying Power of (Kelvin, Maclean, and Galt), 187. Electricity, Diffusion of, from Carbonic Acid Gas to Air; Communication of, from Electrified Steam to Air (Kelvin, Maclean, and Galt), 187. Electrification of Air by Water Jet, Electrified Needle Points, Electrified Flame, &c., at Different Air-pressures; at Different Electrifying Potentials; Loss of Electrification (Kelvin, Maclean, and Galt), 187. Electrolytic Cells, Construction and Calibration of (Veley and Manley), 365. Emissivity of Platinum in Air and other Gases (Petavel), 501. Equations, Laplace's and other, Some New Solutions of, in Mathematical Physics (Forsyth), 1. Evolution, Mathematical Contributions to Theory o f; Influence of Random Selection on the Differentiation of Local Races (Pearson and Filon), 229. F. Filon (L. N. G.) and Pearson (Karl). Mathematical Contributions to the Theory of Evolution.—IV. On the Probable Errors of Frequency Constants and on the Influence of Random Selection on Variation and Correlation, 229.
    [Show full text]
  • We Have a Movie for Everyone
    FALL / WINTER 2015 NEW RELEASES The Martian 2015 • 122 min. • Colour • 20th Century Fox We have a Director: Ridley Scott Cast: Matt Damon, Jessica Chastain, Kristen Wiig, Kate Mara, Sebastian Stan, Michael Peña Movie for During a manned mission to Mars, Astronaut Mark Watney is presumed dead after a fierce storm Everyone and left behind by his crew. But Watney has survived and finds himself stranded and alone on the hostile planet. With only meager supplies, he must draw upon his ingenu- ity, wit and spirit to subsist and find a way to signal to Earth that he is alive. Pan 2015 • Colour • Warner Brothers Director: Joe Wright Cast: Hugh Jackman, Rooney Mara, Cara Delevingne, Amanda Seyfried Garrett Hedlund The story of an orphan who is spirited away to the magical Neverland. There, he finds both fun and dangers, and ultimately dis- covers his destiny -- to become the hero who will be forever known as Peter Pan. Shaun the Sheep Movie 2015 • 85 min. • Colour • Elevation Pictures Director: Mark Burton, Richard Starzak Cast: Justin Fletcher, John Sparkes, Omid Djalili, Kate Harbour, Richard Webber When Shaun decides to take the day off and have some fun, he gets a little more action than he bargained for. A mix up with the Farmer, a caravan and a very steep hill lead them all to the Big City and it’s up to Shaun and the flock to return everyone safely to the green grass of home. Kung Fu Panda 3 2015 • Colour • 20th Century Fox Director: Alessandro Carloni, Jennifer Yuh Cast: Jack Black, Angelina Jolie, Dustin Hoffman, Jackie Chan Seth Rogen, Lucy Liu Continuing his “legendary adventures of awesomeness”, Po must face two hugely epic, but different threats: one super- natural and the other a little closer to his home.
    [Show full text]
  • Something Wicked This Way Comes”: Apocalyptic Overtones and the Descent Into Ennui in John Logan’S TV Series Penny Dreadful
    doi: 10.17605/OSF.IO/H4YBT “Something Wicked This Way Comes”: Apocalyptic Overtones and the Descent into Ennui in John Logan’s TV Series Penny Dreadful Dr. Richard Logsdon, Professor Emeritus, College of Southern Nevada Abstract ennui that has its counterpart in our own culture. The suggestion is that Logan uses While scholars have provided some Vanessa Ives as a symbolic representation of insight into Penny Dreadful, no one has a dying world view, which, somewhat addressed the relationship of the piece’s ironically, provided for her remaining overall design to the writer’s vision. Indeed, friends a hope that sustained them. Penny Dreadful is offered as a warning of a darker age to come. Accordingly, writer 1. Introduction: Old or New Gothic? John Logan sets his series in a late Victorian, Gothicized London that serves as Since the release of Francis Ford a microcosm for a contemporary Western Coppola’s Dracula in 1992, Gothic horror world experiencing a psychological and films that gave the traditional depiction of spiritual disintegration that touches the the Prince of Vampires have been replaced individual and the larger culture. Logan calls by tamer, even more domesticated versions attention to the anxieties generated by this of Bram Stoker’s monster (Hutchings 40- disintegration by incorporating into his 48). Indeed, in the world of cinema and TV, series characters from late Victorian Gothic the past two or three decades have seen a fiction: Frankenstein and his creature, movement away from the traditional Gothic Dracula, the Wolf Man, Dorian Gray, and horror with its dark and haunted landscapes, Dr.
    [Show full text]
  • NVS 12-1-13-Announcements-Page;
    Announcements: CFPs, conference notices, & current & forthcoming projects and publications of interest to neo-Victorian scholars (compiled by the NVS Assistant Editors) ***** CFPs: Journals, Special Issues & Collections (Entries that are only listed, without full details, were highlighted in a previous issue of NVS. Entries are listed in order of abstract/submission deadlines.) Penny Dreadfuls and the Gothic Edited Collection Abstracts due: 18 December 2020 Articles due: 30 April 2021 Famed for their scandalous content and supposed pernicious influence on a young readership, it is little wonder why the Victorian penny dreadful was derided by critics and, in many cases, censored or banned. These serialised texts, published between the 1830s until their eventual decline in the 1860s, were enormously popular, particularly with working-class readers. Neglecting these texts from Gothic literary criticism creates a vacuum of working-class Gothic texts which have, in many cases, cultural, literary and socio-political significance. This collection aims to redress this imbalance and critically assess these crucial works of literature. While some of these penny texts (i.e. String of Pearls, Mysteries of London, and Varney the Vampyre to name a few) are popularised and affiliated with the Gothic genre, many penny bloods and dreadfuls are obscured by these more notable texts. As well as these traditional pennys produced by such prolific authors as James Malcolm Rymer, Thomas Peckett Press, and George William MacArthur Reynolds, the objective of this collection is to bring the lesser-researched, and forgotten, texts from neglected authors into scholarly conversation with the Gothic tradition and their mainstream relations. This call for papers requests essays that explore these ephemeral and obscure texts in relevance to the Gothic mode and genre.
    [Show full text]
  • The Maunder Minimum and the Variable Sun-Earth Connection
    The Maunder Minimum and the Variable Sun-Earth Connection (Front illustration: the Sun without spots, July 27, 1954) By Willie Wei-Hock Soon and Steven H. Yaskell To Soon Gim-Chuan, Chua Chiew-See, Pham Than (Lien+Van’s mother) and Ulla and Anna In Memory of Miriam Fuchs (baba Gil’s mother)---W.H.S. In Memory of Andrew Hoff---S.H.Y. To interrupt His Yellow Plan The Sun does not allow Caprices of the Atmosphere – And even when the Snow Heaves Balls of Specks, like Vicious Boy Directly in His Eye – Does not so much as turn His Head Busy with Majesty – ‘Tis His to stimulate the Earth And magnetize the Sea - And bind Astronomy, in place, Yet Any passing by Would deem Ourselves – the busier As the Minutest Bee That rides – emits a Thunder – A Bomb – to justify Emily Dickinson (poem 224. c. 1862) Since people are by nature poorly equipped to register any but short-term changes, it is not surprising that we fail to notice slower changes in either climate or the sun. John A. Eddy, The New Solar Physics (1977-78) Foreword By E. N. Parker In this time of global warming we are impelled by both the anticipated dire consequences and by scientific curiosity to investigate the factors that drive the climate. Climate has fluctuated strongly and abruptly in the past, with ice ages and interglacial warming as the long term extremes. Historical research in the last decades has shown short term climatic transients to be a frequent occurrence, often imposing disastrous hardship on the afflicted human populations.
    [Show full text]
  • Wail of an Ebbing Tide © 2016 Xena Torres
    Wail of an Ebbing Tide © 2016 Xena Torres www.bitchofrome.com/pennydreadful Penny Dreadful is the copyright property of Showtime and Sky. It was created by John Logan and produced by Desert Wolf Productions and Neal Street Productions. This fan fiction story has been written for entertainment purposes only out of love for the show and out of respect to my fellow Dreadfuls. Dedicated to Eva Green for the gift of Vanessa Ives & my fellow Dreadfuls AUTHOR’S NOTE This story rewrites the ending of the final episode of Penny Dreadful, “The Blessed Dark,” from the moment Ethan enters the white bricked room with Vanessa. It is then divided into six parts (“episodes”) in which I attempt to conclude the series, wrapping up loose threads and plot points that I think most Dreadfuls would agree were left unresolved at the end of the series. Please note that I am not someone who is against tragic end- ings, nor do I think endings have to be sunshine and rainbows, where none of the characters die and they all go off to live perfect lives. I do, however, think endings to series need to give viewers closure and have to bring the characters to a point where we can accept they will live on without us watching. For my ending, I fol- lowed the threads already presented on the show. I also used the books Penny Dreadful drew from, directly and indirectly, while other parts were completely my own. Dr. Jekyll does not appear in this novel. While his story was disappointing, I felt it was as concluded as it could be without start- ing a new thread and this fan fiction is an attempt to conclude the show, not the first part of a virtual series.
    [Show full text]
  • SEAN FADEN VFX Supervisor Seanfaden.Com
    SEAN FADEN VFX Supervisor seanfaden.com PROJECTS DIRECTORS PRODUCERS/STUDIOS LADY AND THE TRAMP VFX Supervisor Charlie Bean Walt Disney Pictures MULAN VFX Supervisor Niki Caro Walt Disney Pictures POWER RANGERS Dean Israelite Marty Bowen, Wyck Godfrey VFX Supervisor, 2nd Unit Director Brent O’Connor / Lionsgate / Temple Hill FANTASTIC FOUR (Pixomondo) Josh Trank 20th Century Fox SLEEPY HOLLOW Season 2 (Pixomondo) Various Directors Marc Alpert, Dennis Hammer 20th Century Fox SCORPION Pilot (Pixomondo) Justin Lin Don Tardino, Clayton Townsend / CBS GAME OF THRONES Season 3 (Pixomondo) Various Directors HBO VFX Supervisor, 2nd Unit Director Nomination - VES Award WANDA RIDE FILM (Pixomondo) Aerial Unit Director FAST & FURIOUS 6 (Pixomondo) Justin Lin Universal Pictures A GOOD DAY TO DIE HARD (Pixomondo) John Moore 20th Century Fox VFX Supervisor, On-set VFX Supervisor A NIGHTMARE ON ELM STREET (Method Studios) Samuel Bayer New Line Cinema VFX Supervisor, On-set VFX Supervisor, 2nd Unit Director PERCY JACKSON & THE OLYMPIANS: Chris Columbus Fox 2000 THE LIGHTNING THIEF (Method Studios) LET ME IN (Method Studios) Matt Reeves Overture Films VFX Supervisor, On-set VFX Supervisor A LITTLE BIT OF HEAVEN Nicole Kassell Davis Entertainment (Method Studios) The Weinstein Company GULLIVER’S TRAVELS Rob Letterman 20th Century Fox (Method Studios) LOCKE & KEY Pilot (Method Studios) Mark Romanek Dimension Films VFX Supervisor, On-set VFX Supervisor CAPTAIN AMERICA: THE FIRST AVENGER Joe Johnston Paramount (Method Studios) THE GIRL WITH THE DRAGON TATOO David Fincher Columbia Pictures (Method Studios) THE PURGE (Method Studios) James DeMonaco Blumhouse / Universal Pictures VFX Supervisor, On-set VFX Supervisor ARTHUR NEWMAN GOLF PRO (Method Studios) Dante Ariola Vertebra Films TERMINATOR: SALVATION (Asylum) McG Warner Bros.
    [Show full text]
  • Universidade Federal Da Paraíba Centro De Ciências Humanas, Letras E Artes Programa De Pós-Graduação Em Letras Espelhos E
    UNIVERSIDADE FEDERAL DA PARAÍBA CENTRO DE CIÊNCIAS HUMANAS, LETRAS E ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS ESPELHOS E RETRATOS DE DORIAN GRAY NA SÉRIE TELEVISIVA PENNY DREADFUL: CONFIGURAÇÕES DO GÓTICO NA CONSTRUÇÃO DO PERSONAGEM DE OSCAR WILDE E DE JOHN LOGAN AURICÉLIO SOARES FERNANDES JOÃO PESSOA - PB ABRIL DE 2020 AURICÉLIO SOARES FERNANDES ESPELHOS E RETRATOS DE DORIAN GRAY NA SÉRIE TELEVISIVA PENNY DREADFUL: CONFIGURAÇÕES DO GÓTICO NA CONSTRUÇÃO DO PERSONAGEM DE OSCAR WILDE E DE JOHN LOGAN Tese submetida ao Programa de Pós- Graduação em Letras, da Universidade Federal da Paraíba, como pré-requisito para a obtenção do título de Doutor em Letras. Orientador: Prof. Dr. Luiz Antonio Mousinho Magalhães Área de Concentração: Literatura, Cultura e Tradução Linha de Pesquisa: Tradução e Cultura JOÃO PESSOA - PB ABRIL DE 2020 ESPELHOS E RETRATOS DE DORIAN GRAY NA SÉRIE TELEVISIVA PENNY DREADFUL: CONFIGURAÇÕES DO GÓTICO NA CONSTRUÇÃO DO PERSONAGEM DE OSCAR WILDE E DE JOHN LOGAN FERNANDES, Auricélio Soares. Espelhos e retratos de Dorian Gray em Penny dreadful: configurações do gótico na construção do personagem de Oscar Wilde e de John Logan________ fls. Tese. (Doutorado em Letras) – Universidade Federal da Paraíba, João Pessoa, 2020. BANCA EXAMINADORA ____________________________________________________ Prof. Dr. Luiz Antonio Mousinho Magalhães – UFPB Orientador ____________________________________________________ Profª. Drª Laura Loguercio Cánepa – Universidade Anhembi Morumbi (Examinadora externa) ____________________________________________________
    [Show full text]
  • Soddoma: Cantos of Ulysses
    Soddoma: Cantos of Ulysses Chris Mansel Argotist Ebooks 2 Cover image by Rich Curtis Copyright © Chris Mansel 2010 ll rights reserved rgotist Ebooks 3 Dedicated to $ake Berry 4 Soddoma: Cantos of Ulysses 5 Through the slave quarters and to the river below, cross sections of freshening earth* 1. Shaft scene Syphilitic skeletons borne in blood menstrual pillars of Sodom coitus breath scars thorns milk interprets the scrotal consummating corpse labia drunk and made holy clitoridectomies penis sheaths paleolithic barriers scavenging decomposition narrow receiving bowl. Bushmen read the koka shastra, wandering wombs dilate the reproductive cycle* 6 2. ,enus in furs -edged yogic castration, umbilical suckling male hymen e.aculatory ducts the membranous urethra pastoralists, con.ugated estriols femini/ed 0double castration1 dislect of deep incised consumption an infant2s se3ual attributes cranial4uteral childbirth masturbation swallows. 5haling asps three miles by four, heavens corpse spinal venerated. It2s flaccid genital beard, 0it2s1 0madness to be confined7Rimbaud1 7 8. Coffin birth Menstruation 0ovum1 migration e3plicit breath sutras tenderness, thick wash rape 0decay1 copulation abortifacients peyote insufficient mitochdrial DN homologue of the penis 0masculine machinery1 the debauchery of an open wound herded to the dead. 8 4. Flesh allows sins without the body Departing drew squalor copula weightless heat sweating petals de7centered borne wallow plurality of unrecorded raindrops rhythms tastes screams branches nausea erections vomiting animal bearers agony clutter the pineal eye smell is monogamous; intimate doctrine of a menstrual matter. 9 5. The absurdity of rigor mortis Blood bathed lips of a reptilian beings drag Basilidan stones spreading the dust from her ribcages to make another opening in her entrails 0the presence of unnecessary practice > peremptory e3pulsion1 the .aws of the clitoris are pried open by hideous animals 0ecstasy e3cludes the worker1 inundated with hair.
    [Show full text]
  • Boskone 31 a Convention Report by Evelyn C
    Boskone 31 A convention report by Evelyn C. Leeper Copyright 1994 by Evelyn C. Leeper Table of Contents: l Hotel l Dealers Room l Art Show l Programming l The First Night l Comic Books and Alternate History l Sources of Fear in Horror l Saturday Morning l Immoral Fiction? l Neglected SF and Fantasy Films l Turbulence and Psychohistory l Creating an Internally Consistent Religion l Autographing l Parties l Origami l The Forgotten Fantasists: Swann, Warner, and others l The City and The Story l What's BIG in the Small Press l The Transcendent Man--A Theme in SF and Fantasy l Does It Have to Be a SpaceMAN?: Gender and Characterization l Deconstructing Tokyo: Godzilla as Metaphor, etc. l The Green Room l Leaving l Miscellaneous l Appendix: Neglected Fantasy and Science Fiction Films Last year the drive was one hour longer due to the move from Springfield to Framingham, and three hours longer coming back, because there was a snowstorm added on as well. This year it was another hour longer going up because of wretched traffic, but only a half-hour longer coming back. (Going up we averaged 45 miles per hour, but never actually went 45 miles per hour--it was either 10 miles per hour or 70 miles per hour, and when it was 10, the heater was going full blast because the engine was over-heating.) Having everything in one hotel is nice, but is it worth it? Three years ago, panelists registered in the regular registration area and were given their panelist information there.
    [Show full text]
  • Newsletter Wizard
    IAGA News No. 40 December 2003 IAGA, the International Association of Foreword Geomagnetism and Aeronomy, is the This issue of IAGA News is the premier international scientific association first after a long interruption, which has been due to two promoting the study of terrestrial and changes of Secretary-General planetary magnetism and space physics and to the need to adapt to the new styles of communication in the IT era. IAGA News in this new form consists mainly of I N THIS I SSUE brief summaries, or even simply titles of news items, and the reader is referred Foreword .............................................................................. 1 to the IAGA web site for more details. The goal is to reach, with this new format for IAGA News, not only Message from the new IAGA President ............................... 1 the IAGA community but also national and The IUGG General Assembly, Sapporo, Japan, 30 June – international policy makers whose decisions affect IAGA-related activities. 11 July 2003 ........................................................................ 2 IAGA News has, in the past, included short articles, Minutes of the meetings of the IAGA Conference of Delegates reports and announcements of interest to the IAGA and the IAGA Executive Committee held in Sapporo..............3 community. This tradition will continue with IAGA News in its new format. Contributions are invited and The President’s Report to the IAGA Conference of Delegates should be sent to the Secretary-General. .................................................................................................3 This issue of IAGA News is principally devoted to IGY+50: IAGA Task Group Proposal.......................................3 reports on activities at the 23rd General Assembly of IUGG, held in Sapporo, Japan, on June 30 – July 11, IAGA Sponsorship of Scientific Meetings in 2003-2004..........3 2003.
    [Show full text]
  • Screams on Screens: Paradigms of Horror
    Screams on Screens: Paradigms of Horror Barry Keith Grant Brock University [email protected] Abstract This paper offers a broad historical overview of the ideology and cultural roots of horror films. The genre of horror has been an important part of film history from the beginning and has never fallen from public popularity. It has also been a staple category of multiple national cinemas, and benefits from a most extensive network of extra-cinematic institutions. Horror movies aim to rudely move us out of our complacency in the quotidian world, by way of negative emotions such as horror, fear, suspense, terror, and disgust. To do so, horror addresses fears that are both universally taboo and that also respond to historically and culturally specific anxieties. The ideology of horror has shifted historically according to contemporaneous cultural anxieties, including the fear of repressed animal desires, sexual difference, nuclear warfare and mass annihilation, lurking madness and violence hiding underneath the quotidian, and bodily decay. But whatever the particular fears exploited by particular horror films, they provide viewers with vicarious but controlled thrills, and thus offer a release, a catharsis, of our collective and individual fears. Author Keywords Genre; taboo; ideology; mythology. Introduction Insofar as both film and videogames are visual forms that unfold in time, there is no question that the latter take their primary inspiration from the former. In what follows, I will focus on horror films rather than games, with the aim of introducing video game scholars and gamers to the rich history of the genre in the cinema. I will touch on several issues central to horror and, I hope, will suggest some connections to videogames as well as hints for further reflection on some of their points of convergence.
    [Show full text]