Academic literature on the topic 'Fantastics universals'
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Journal articles on the topic "Fantastics universals":
1
Luglio, Davide. "Crear conceptos: presencias del “universal fantástico” viquiano en el pensamiento italiano del siglo XXI." Cuadernos sobre Vico, no. 37 (2023): 133–46. http://dx.doi.org/10.12795/vico.2023.i37.08.
Abstract:
El artículo analiza la herencia viquiana en el pensamiento moderno, en particular en el pensamiento moderno italiano. A partir de una periodización de esta herencia, según la cual el XIX es el siglo del Vico filósofo de la historia, el XX corresponde al Vico filósofo del lenguaje y el XXI pone en relieve al pensador del cuerpo y se reconoce en el “universale fantastico” (universal fantástico) el legado más relevante del pensamiento viquiano. Este legado actúa críticamente dentro del pensamiento de autores como Agamben, Deleuze y Esposito e influye también en escritores como Pasolini.
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Durán Guerra, Luis. "Don Quijote como universal fantástico." Anales Cervantinos 50 (December 10, 2018): 75. http://dx.doi.org/10.3989/anacervantinos.2018.003.
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Mi intención en este ensayo no trata de desmentir la interpretación tradicional según la cual Cervantes parodia en su obra cumbre el ideal caballeresco, sino mostrar, por un lado, la relación intrínseca entre locura e ingenio en el hidalgo manchego e incidir, por otro, sobre el ser simbólico de don Quijote y su dimensión ingeniosa a la luz del concepto de universale fantastico acuñado por el filósofo italiano Giambattista Vico (1668-1744).
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Grell, Helge. "Langt mere eventyrligt end historisk." Grundtvig-Studier 44, no. 1 (January 1, 1993): 145–58. http://dx.doi.org/10.7146/grs.v44i1.16108.
Abstract:
»Langt mere eventyrligt end historisk«Om Grundtvigs forhold til EnglandBy Helge GrellIn a letter to Queen Caroline Amalie, written towards the end of his Englandjoumey in 1843, Grundtvig describes his attitude to England as ’more fantastic than historical’. This expression is only comprehensible when viewed within the tension created by his expectation of finding a receptive forum for his ideas among the English and his subsequent disappointment. The English, whom Grundtvig met, proved un-receptive, not only to his view of universal history, including the central role he allocated to the English people, but also to his ecclesiastical position.The ’fantastic’ i Grundtvig’s attitude to the English is in evidence in his continued insistence on the central importance of England for his view on universal history and in the high hopes he still held for the realisation of his ecclesiastical ideas in England, despite his disappointment and his critical attitude to contemporary English life.Furthermore, Grundtvig’s attitude to England is even more ’fantastic’ when we realize that the contradiction between his expectations of the English and England and his negative experience becomes a deciding factor in his thoughts about the necessary interaction between the spiritual and the material world.
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Chen, Fanfan. "The Narrative Rhetoric in Léa Silhol’s La Tisseuse: Contes de Fées, contes de Failles." Arcadia 47, no. 1 (July 2012): 78–107. http://dx.doi.org/10.1515/arcadia-2012-0003.
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AbstractThe diversity of contemporary French narration renders the canonical definition of le fantastique useless. Writers challenge Todorov’s definition that the fantastic emerges as the reader hesitates between the supernatural and the natural explanation for the unlikely event. Léa Silhol (1967), a storyteller of mythic-poetic-fantastic style, figures among these writers. An inheritor of romantic fantastic storytelling, Silhol delves into the mental and psychic depth of legendary figures, mostly goddesses and fairies, to make them question their own identity and observe humans from their perspective. Her feminine and universal writing about the fantastic exemplifies the new-generation French fantastic. Like the mythic tisseuse in her tales, Silhol weaves stories with a new texture, with an imaginary étoffe. Just as the mythic and legendary weavers are associated with water, she makes use of it to achieve her verbal alchemy, the narrative rhetoric of which operates from three angles: mythic, structural, and stylistic. Silhol’s transtextual writing of myths from different cultures creates mythic résonance of the collective unconscious from linguistic différance. The narrative structure of the tales embodies the inversion of vision in Bachelardian alchemy of the imagination. Lastly, a scrupulous analysis of the author’s diction that corresponds with the thematic threading of tales and their narrative structure will illustrate her dominant style of harmonism.
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Čipkár, Ivan. "Aesthetic Universals in Neil Gaiman’s Post-Postmodern Mythmaking." Prague Journal of English Studies 8, no. 1 (July 1, 2019): 97–117. http://dx.doi.org/10.2478/pjes-2019-0006.
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Abstract Aesthetic theory, as reflected in both contemporary cognitive (Patrick Colm Hogan) and more traditional structuralist criticism (H.G. Widdowson), points to the dynamics between familiarity and surprise as the driving force behind the pleasure we derive from reading fiction. This paper explains how Neil Gaiman’s works, particularly his novel Neverwhere, utilize genre expectations and reinvent mythologies in order to captivate audiences in the current age of unprecedented access to information and a rather superficial intertextuality. The paper draws on Brian Attebery’s analyses of the literature of the fantastic to place Gaiman within the context of both modernist and postmodernist legacies, while proposing that his works could be best understood as representative of the current cultural paradigm, sometimes labelled as the pseudo-modern or post-postmodernism. The discussion of the shifting paradigm is used as a backdrop for the scrutiny of the devices employed in Gaiman’s writing: the pre-modern focus on storytelling, prototypicality, modernist “mythic principle”, postmodernist textual strategies, and utilization of current technologies and mass-communication media.
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Piwowarska, Ewa. "Children´s graphical records as universal non-verbal messages." Informatologia 54, no. 1-2 (February 8, 2021): 100–106. http://dx.doi.org/10.32914/i.54.1-2.9.
Abstract:
Non-verbal communication depends on children’s experiences and knowledge. In artistic activity the richer one’s experiences are that are related to art workshop, the greater is that per-son’s the ability to transmit information about the world, both real and notional, fantastic, which is within the scope of interest of a young creator. The aim of planned research was: to determine ways of creating graphical records by children in preschool and early school age, as universal non-verbal messages. In the research proceedings it was important to define ways of presenting particular issues and types of perspective the children used in particular tasks. Additionally, the symbols were important that were used by children to underline the power of expression. Artistic works of children at preschool age are a creation of both the presence and the future and expression of psychical state. The artistic means used in art works are significant because they reveal logic of children’s thinking, feeling and knowledge the children have.
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Pulatov Khamidullo Talyat Ugli. "Timely Prevention In Orthodontics." Texas Journal of Medical Science 26 (November 8, 2023): 63–65. http://dx.doi.org/10.62480/tjms.2023.vol26.pp63-65.
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Orthodontics is a department of dentistry that focuses on correcting misaligned enamel and jaws. Timely prevention performs a quintessential function in keeping oral fitness and accomplishing suited outcomes. By figuring out attainable problems at an early stage, orthodontists can devise fantastic remedy plans to forestall issues and decorate universal dental well-being. In this article, we discover the significance of well-timed prevention in orthodontics, highlighting a number of components and approaches
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Ryazanova, S. V. "Fantastic theology of Robert Sheckley: A pseudo-secular world." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 1(48) (March 2, 2020): 167–76. http://dx.doi.org/10.20874/2071-0437-2020-48-1-15.
Abstract:
The article considers one of the views on God existing within the modern Western literary tradition and out-side of religious systems. The image of God was chosen as a cultural phenomenon relevant for interpretation, which exists both in religious and secular discourse. The research involved the creative heritage of Robert Sheck-ley – one of the most popular authors of fantastic literature in the mid-20th century. The analysis was based on fantastic tales, since they provide the opportunity to prove all strategies for social behaviour, as well as different views on life. The image of God created by Sheckley was reconstructed using intertextual analysis, which helps identify original mythological and religious narratives and individual allusions. This provides the opportunity to define the features of Sheckley's individual fantastic theology and find the reasons for using the image of God in secular literature. The analysis revealed that the used religious names, denominations and plots bear only formal similarity with the traditional ones. They are used and interpreted arbitrarily. God is interpreted as being anthro-pomorphic, pragmatic, partial and not interested in the fate of his creation. Communication with God is described as commercialised and is built on the model of the consumer society. The works of Sheckley indicate the possibil-ity and necessity of contact between the man and God with the obligatory personal participation of the individual. The American writer creates texts that are modernised in terms of the plot using traditional Christian ideas about the spiritual development of people and the need to preserve the Christian value system as a universal one. In this connection, Sheckley offers possible behavioural models for the created image of God.
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Bruno Riccardi. "That fantastic and mysterious flow of electrons that we call LIFE." GSC Advanced Research and Reviews 12, no. 3 (September 30, 2022): 187–206. http://dx.doi.org/10.30574/gscarr.2022.12.3.0252.
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The aim of this article is to present a personal conception on the structure and evolution of matter and to examine critically the one theorized by physics and quantum biology. The fundamental questions I am going to try to answer are: · What is a life? · Why is it difficult, elusive to understand its inner molecular mechanism? · Is it possible to formulate a comprehensive theory of the molecular mechanism that guides it, without resorting to abstract mathematical equations, true transcendental transpositions of the real world? · What does mysterious and powerful feeling push us in the search for its essence, despite the limited cognitive tools we have? Is love for knowledge an end in itself? The narrative I’m going to present is based on the assumption that all the elementary particles of matter and the forces with which they interact use a proper means of communication a universal molecular code, that informs them and guides them in the random evolution towards infinite possible solutions. I have also theorized that the evolution of life on earth had been possible thanks to the formation of a barrier, called the cell membrane, capable of containing within it, a set of organized and coordinated molecules, separated from the chaotic external world. To this hypothesis shared by many authors, I have associated the concept that the cell membrane has perfected the process of biological communication. Finally, I have hypothesized as the basis of life processes an incessant flow of electrons, which regulates communication and provide the energy they need. The substrate of this mechanism is formed by electromagnetic waves, the only ones capable to transport electrons and orchestrate the cosmic symphony. I may consider myself sufficiently gratified of the concepts presented here if they find some adhesion and theoretical contribution from the readers.
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Fuss, Michael. "La figura di Cristo nelle nuove credenze religiose contemporanee." Revista Pistis Praxis 7, no. 1 (September 13, 2015): 13. http://dx.doi.org/10.7213/revistapistispraxis.07.001.ds01.
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La figura di Cristo, cuore della fede cristiana, è esplosa in postmodernità in nuove e strane cristologie, alternative alla Chiesa e in competizione con lei. Catturato nella mistico-esoterica galassia New Age, la figura di Cristo è vista ora come quella della gnostico-cosmica Sofia , ora come il Messia che porta una nuova rivelazione, ora come il Principio interior di guarigione integrale e integrazione universale, ora come la Leggenda fantastica e populista che ritiene confusi ricorsi magici. Sulla figura religiosa e storica di Cristo stanno tutti i tipi di alegorizanti interpretazioni, come quella che lo vede come il ricercatore ed il maestro della saggezza salvatrice . L’atteggiamento della Chiesa nei confronti di tali cristologie mobili è quello di capire come espressione di una cultura disorientata e, in dialogo conloro e in ricupero di suoi punti di luce, offrirne la “diakonia della verità” circa il Cristo della grande tradizione apostolica.
Dissertations / Theses on the topic "Fantastics universals":
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Sama, Lindor Sterline. "Le sublime chez Giambattista Vico, de l’esthétique à la politique : sublime, rhétorique et politique dans la philosophie vichienne." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080046.
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L’objectif principal de ce travail est d’analyser les variations du sens du sublime chez Vico et de déterminer comment le sublime comme moment déclencheur de l’andar raccogliendo, l’aller en rassemblant, participe à la fondation de la communauté politique. C’est à partir de l’expérience de la foudre, moment sublime par excellence que commence le long processus de développement de l’esprit des « bestioni » qui erraient dans les grandes forêts postdiluviennes. Par une imagination vigoureuse, ces derniers créent les « universaux fantastiques » ou « caractères poétiques », qui seront leur premier mode d’appréhension du monde. Ainsi, quittent-ils leur état de brute pour atteindre progressivement l’humanité. C’est sur ce concept d'« universaux fantastiques » que Vico fonde sa nouvelle science. De cette façon, il réhabilite l’imagination, la fantasia, et lui confère un rôle important dans la recherche de la vérité, proposant ainsi une réflexion qui tient compte de toutes les propriétés de l’esprit humain. En fervent défenseur de cette discipline placée en dehors du champ de la connaissance par certains philosophes dont Descartes notamment, Vico étudie les transformations de l'esprit humain à travers différents moments de son évolution. Aussi, invente-t-il une esthétique entièrement fondée sur le sublime. Sa démarche rappelle celle de Kant, qui, dans sa première Critique, définit les règles de base de la connaissance en partant du sensible. Par conséquent, pour comprendre la méthode utilisée par le philosophe napolitain sur l’évolution de l’esprit, il nous a semblé nécessaire de partir de l’esthétique kantienne. Toutefois, la possibilité de réfléchir sur le sublime chez le philosophe napolitain n’étant pas limitée au sensible, il convient d’en déterminer le sens lors du passage de l’âge poétique à l’âge de la « raison entièrement développée ». Considéré comme moment où tous les repères symboliques sont suspendus, le sublime a la particularité de modifier l’ordre des choses en vue de faire émerger de nouvelles institutions symboliques. C’est ce que nous observons dans la Science nouvelle au moment du soulèvement de la plèbe contre le patriarcat. C’est ce moment sublime qui favorisera l’émergence de la démocratie dans les cités, que Marc Richir appelle « sublime en politique ». Il existe donc un lien entre ce dernier et Giambattista Vico quant à la manière dont ils ont tous les deux réfléchi sur la problématique de la fondation sociopolitiqueThe main objective of this work is to analyze the variations of the meaning of the sublime by Vico and determine how the sublime, as the trigger moment of « andar raccogliendo », participates in the foundation of political community. It’s from the lightning-experience, of the sublime moment that begins the long process of development of the « bestioni » mind who wandered in the great post diluvian forests. By a vigorous imagination, they created the « universals fantastics » or « poetic characters, » which will be their first mode of apprehension of the world. So they are ready to leave their raw state to gradually reach humanity? Thus, at this the concept of «fantastics universals » that Vico founded his new science. In this way, he rehabilitates the imagination, fantasia, and gives it an important role of searching the truth, by proposing a reflection that takes into account all the properties of the human mindset. As a fervent defender of this discipline placed outside the field of knowledge by certain philosophers including Descartes, Vico studied the transformation of the human spirit through different moments of its evolution. So he invented entirely based on « aesthetic sublime ». His approach reminds us Kant, who, in his first criticism, defines basic rules of knowledge starting from the sensitive. The possibility of thinking on sublime as the Neapolitan philosopher not being limited to the poetic age, it should be determined during the passage from the poetic age to the age of « fully developed reason ». Considered as the moment where all symbolic references are suspended, the sublime has the particularity of modifying the order of things to bring out new symbolics institutions. This is what we observe in the new science, during the raising of the plebians against the patriarchy. It is this sublime moment that will favor the emergence of democracy in the cities, which Marc Richir called « sublime in politic». There is a connection between them, as they both reflected the problem of the socio-political foundation
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Giacomelli, Tanja. "Lady G : En satirisk fantastik om universums uppgång och (eventuella) fall." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-95562.
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Lady G is a satirical novel involving celestial, earthly and unearthly love with a budding twisted creation story of the universe that provides an alternative explanation model for Mother Earth's depressive state. Lady G and the All-Knowing Being (DAV) – who is not quite as omniscient as would be expected – are involved in the creation and development of both the Earth and humans. DAV has difficulty keeping his fingers under control, generating chaos and devastation. Lady G, in her despair over Mother Earth's psychical collapse after the extinction of the dinosaurs, seeks help from a herd of pixilated fairies from a distant galaxy. DAV experiences a tragic earthly love affair and forges devilish plans to wipe out the universe and resume his dreamless state of non-existence. Although, humans Fatima and Hyuk are on to him. Together with their e-sports friends Ludwig, Mary, Jusuf, and with help from indigenous shamans, a rescue plan is taking shape. They will use the World Cup finals in e-sports and the UN Climate Conference to reveal who is behind the hatred and darkness that manipulates and stifle all hope. Time is very scarce. Secrets among the friends threatens to break them up and everything seems to go according to DAV's plans when Lady G finally realizes her mistake. But it's too late. Or is it? The novel has a total of twenty-five chapters and during this year I have written and submitted the last twenty-four. I have deliberately omitted the last ten pages to avoid spoilers and I have also added chapter one to create a better overall understanding of the project.Lady G är en satirisk roman som involverar himmelsk, jordisk och ojordisk kärlek med en alternativ, och skruvad, skapelseberättelse som ger en alternativ förklaringsmodell för Moder Jords depressiva tillstånd. Lady G och Det Allvetande Varandet (DAV) - som inte visar sig vara så allvetande som man kunde förvänta sig - är involverade i skapandet och utvecklingen av både Moder Jord och människorna. DAV, som har svårt att hålla fingrarna i styr, skapar kaos och förödelse. Lady G söker i sin förtvivlan över Moder Jordas psykiska kollaps – efter dinosauriernas utrotning – hjälp av en flock vimsiga feer från en avlägsen galax. DAV upplever en tragisk jordisk kärleksaffär och smider djävulska planer för att utplåna universum och återuppta sitt drömlösa tillstånd av icke-existens. Men människor Fatima och Hyuk är honom på spåren. Tillsammans med sina e-sportvänner Ludwig, Mary, Jusuf och med hjälp av urfolkens shamaner tar en räddningsplan form. De ska utnyttja VM-finalen i e-sport och FN:s klimatkonferens för att avslöja vem som står bakom hatet och mörkret som breder ut sig och som kväver allt hopp. Tiden är knapp. Hemligheter bland vännerna hotar att splittra dem och allt verkar gå enligt DAV:s planer när Lady G äntligen inser sitt misstag. Men det är för sent. Eller är det? Romanen har sammanlagt tjugofem kapitel och under årets kurs har jag skrivit och lämnat in de sista tjugofyra. Jag har medvetet utelämnat de sista tio sidorna för att undvika spoilers och jag har även lagt till prologen och första kapitlet för att skapa en bättre övergripande förståelse av projektet.
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Silva, Wandeir Araújo da. "Universos fantásticos: os contos de Lygia Fagundes Telles." Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/6253.
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This research intends to analyze the short-stories As formigas , O encontro , A mão no ombro A estrela branca e Lua crescente em Amsterdã , written by the brazilian author Lygia Fagundes Telles. We believe that the mentioned narratives can be used to evaluate the theories of the fantastic in this case, especially, the theory presented by the franco-bulgarian philosopher Tzevtan Todorov. Thus, we propose to observe how the fantastic is constructed, focusing on what we find in The fantastic: a structural approach to a literary genre. According to presented in this study, we believe that some Todorov s assertions about the fantastic can be reviewed. We inquire many structural factors presented in the definition of fantastic proposed by the theorist. As we can see in Telles short-stories, such a theory not always seems to include all the aesthetical resources used to create the fantastic. In the end of research, we also comment the social function of the genre, once that Todorov believes that the fantastic is attached only to the literary production found in the centuries XVIII and XIX. Telles short-stories show that contemporary writers continue to explore the themes of the fantastic however, they present new ways of composition.
Esta pesquisa pretende analisar os contos As formigas , O encontro , A mão no ombro , A estrela branca e Lua Crescente em Amsterdã , da escritora brasileira Lygia Fagundes Telles. Acreditamos que os contos mencionados podem ser usados para avaliar as teorias do fantástico neste caso, mais especificamente, a do filósofo búlgaro-francês Tzvetan Todorov. Sendo assim, propomos a observação da construção do fantástico, baseando-nos no que encontramos em Introdução à literatura fantástica. Conforme o que apresentamos neste estudo, acreditamos que algumas afirmações de Todorov sobre o fantástico devem ser revistas. Destacamos o questionamento de muitos fatores de ordem estrutural apresentados na definição de fantástico proposta pelo teórico. Como vemos ao analisar os contos de Telles, tal teoria nem sempre parece dar conta dos diversos recursos estéticos utilizados na criação do fantástico. Por fim, também comentamos a função social do gênero fantástico, uma vez que Todorov acredita que o fantástico se limita à produção dos séculos XVIII e XIX. Os contos de Telles mostram que os escritores contemporâneos continuam explorando os temas do fantástico entretanto, apresentando apenas novas formas de composição.
Books on the topic "Fantastics universals":
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Siruela, Jacobo, ed. Antologíaa universal del relato fantástico. Girona, Spain: Atalanta, 2013.
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Giuseppe, Cacciatore, ed. Il sapere poetico e gli universali fantastici: La presenza di Vico nella riflessione filosofica contemporanea : atti del Convegno internazionale, Napoli, 23-25 maggio 2002. Napoli: A. Guida, 2004.
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1945-, Cacciatore Giuseppe, ed. Il sapere poetico e gli universali fantastici: La presenza di Vico nella riflessione filosofica contemporanea : atti del Convegno internazionale, Napoli, 23-25 maggio 2002. Napoli: A. Guida, 2004.
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1945-, Cacciatore Giuseppe, ed. Il sapere poetico e gli universali fantastici: La presenza di Vico nella riflessione filosofica contemporanea : atti del Convegno internazionale, Napoli, 23-25 maggio 2002. Napoli: A. Guida, 2004.
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King, Stephen. The Drawing of the Three. 2nd ed. New York, USA: Signet, 1997.
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King, Stephen. The drawing of the three. London: Sphere, 1990.
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King, Stephen. The Dark Tower: Wizard and Glass. London: New English Library, 1998.
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King, Stephen. The Dark Tower II: The Drawing of the Three. London: New English Library, 2003.
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King, Stephen. Drei. München, Germany: Wilhelm Heyne Verlag, 1993.
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King, Stephen. La tour sombre: Les trois cartes. Paris: Editions 84, 1998.
Book chapters on the topic "Fantastics universals":
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Sutherland, Doris V. "Literary Precursors." In The Mummy, 15–28. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325956.003.0002.
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This chapter discusses the portrayal of mummies and ancient Egypt in fantastic literature. While not necessarily the basis of a coherent subgenre, mummies were a recurring theme in the supernatural literature of the nineteenth and early twentieth centuries as authors of the fantastic found their imaginations fired by the latest developments in Egyptology. Stories from this period often differ significantly from the mummy films that would later develop in Hollywood, but certain aspects of them are nonetheless echoed by Universal Pictures' subgenre-defining 1932 film The Mummy. The chapter then describes haunted mummies and walking mummies. There are three writers in particular who stand out as the most likely influences upon Universal's The Mummy: Bram Stoker, Arthur Conan Doyle, and H. Rider Haggard.
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Turnock, Bryan. "In the Realm of the Fantastic." In Studying Horror Cinema, 59–78. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.003.0004.
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This chapter investigates 'the realm of the fantastic'. According to philosopher Tzvetan Todorov, such a state exists only as long as there is indecision over whether the event is indeed a supernatural occurrence or a product of the imagination; once this is determined, one leaves the realm of the fantastic for that of either the 'marvellous' or the 'uncanny'. The chapter considers Jacques Tourneur's Cat People (1942), the first in a series of 'fantastic' horror films produced by Val Lewton for RKO Pictures in the 1940s. Famous for their use of suggestion and ambiguity, they are widely regarded as classics of the genre. Like Universal Studios before it, RKO used the horror film to transform itself into a major Hollywood force, injecting new life into a genre that had by then become staid and predictable. Their success came at a time of mounting problems for the majors, and when independent studios and film-makers began to play an increasingly important role in the industry.
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Reyes, Xavier Aldana. "Mid-Century Gothic Cinema (1931–79): From Monster Business to Exploitation Horror." In Twentieth-Century Gothic, 114–28. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474490122.003.0008.
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This chapter traces the key changes experienced by Gothic cinema during the years bookended by the success of Universal Studios’ Dracula and Frankenstein and Hammer’s failed attempts to modernise their Gothic horror brand. Key developments during this period included the crystallisation of the horror franchise as a viable commercial venture in the 1930s and 1940s, the rise of Gothic realism in the women films of the 1940s, the widespread use of colour film processes in the late 1950s, and the subsequent rise of titillating and increasingly openly erotic spectacles in the exploitation cinemas of Italy and Spain in the 1960s and 1970s. Alongside these medium-specific developments ran the temporal fixing of the nineteenth century as the new Gothic era, or ‘Gothic cusp’, a fantastic or idealised version of the past that enabled the staging of ideological tensions between the barbaric past and the modern present. With the rise of pornography in the 1970s, it is argued, the Gothic aesthetic became unnecessary, even redundant, as the concerns once channelled through the safe distance offered by retrojection were suddenly able to manifest in horror films set in contemporary times. By considering similarities and points of divergence between Universal’s Frankenstein (1931) and Hammer’s The Curse of Frankenstein (1957), the chapter underlines the cultural continuity of the Gothic aesthetic in this period and its evolution.
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Villegas, Mark R. "Nation in the Universe." In Manifest Technique, 90–119. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043789.003.0004.
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This chapter observes Filipino Americans’ extraterrestrial and cosmic performances, which consult hip hop’s links to the 1960s Black Arts Movement and the science fiction genre of Afrofuturism. Some Filipino American hip hop artists embrace alternative worlds of civilization and temporality to counter Filipinos’ historical suspension from civilization and the modern nation. In particular, this chapter studies Filipino Americans’ roles in the Universal Zulu Nation, an arbiter of hip hop authenticity that exudes cosmic and fantastical cultural politics. This chapter also focuses on artists’ eccentric and otherworldly sonics and visuals, demonstrating how the spiritual, cosmological, and racial codes in hip hop inspire Filipino knowledge creation while unraveling “proper” political subjectivity through performers’ funky and alien representations.
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"Marginacion Y Amistad En Mamet Y Sastre: El Caso De American Buffalo Y La Taberna Fantastica." In De lo particular a lo universal: El teatro español del siglo XX y su contexto, 112–18. Vervuert Verlagsgesellschaft, 1994. http://dx.doi.org/10.31819/9783964566799-012.
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Johns, Christopher. "On the differences between spirits (minds), animal souls, and substantial forms; and that immortality implies continuity of memory (or, why it is pointless to wish to become the King of China)." In Leibniz's Discourse on Metaphysics, 294–97. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474457774.003.0036.
Abstract:
This article outlines Leibniz’s distinctions among kinds of soul-like entities encountered so far. Substantial forms: Leibniz hesitates or denies that bodies are substances, largely for the reason that bodies lack their own principle of unity. But substantial form provides them with unity. These are soul-like because they are immaterial and cannot perish. However, they lack something animal souls have: sensation. Animal souls also are capable of certain degrees of intelligence and memory (which Descartes denied to them). At a higher level, spirits or substances properly speaking have all the capacities of animal spirits, but also the distinguishing capacities for reflection, abstraction of universals from sense experience, and moral behaviour. This last makes them susceptible of reward, punishment, and immortality. Leibniz makes the additional point that immortality requires continuity of identity. It would make no difference to you if when you died you became a different person, say, the King of China, or something fantastic. You would have no reason to wish for it, because you would have no memory of your previous self.
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Sutherland, Doris V. "The Makers of The Mummy." In The Mummy, 43–54. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325956.003.0004.
Abstract:
This chapter evaluates the visual fields of direction, performances, and effects in the making of The Mummy (1932). While it was Richard Schayer and Nina Wilcox Putnam who laid out the earliest version of The Mummy's storyline, it was John L. Balderston who reworked it from a muddled mixture of magic and mad science to a narrative that defined a subgenre. The chapter considers Karl Freund's directorial approach to The Mummy. Freund's approach to the fantastic is subtle and understated; nowhere is this clearer than in the iconic prologue, where the mummy is largely out-of-shot following the initial close-ups of its opening eyes and languid arm movements. Many filmmakers would have shown the mummy's actions directly, but Freund understood that powerful images could be created through restraint, allowing the viewer's imagination to fill in the details. The chapter then looks at the performances of Boris Karloff, Zita Johann, and Edward Van Sloan. It also highlights the role of Universal Pictures' resident cosmetic genius, film make-up artist Jack Pierce.
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Armbrust, Walter. "A New Normal?" In Martyrs and Tricksters, 206–38. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691162645.003.0011.
Abstract:
This chapter describes how, in “Trickster politics,” the figure of the Trickster is connected to liminality, and revolution can be understood as a liminal crisis that causes an unpredictable transition, and potentially a transition to a “new normal” that nobody can anticipate. Taufiq ʻUkasha instantiated a Trickster politician. He was a counterrevolutionary propagandist, and possibly an operative of Egyptian military intelligence when it was run by Abd al-Fattah al-Sisi. Sisi himself is a Trickster insofar as he comes into political office as an outsider, and rules as an outsider—capriciously, in an atmosphere of relentless conspiracy, by resorting to violence as a fundamental condition of governance, but also by means of substituting fantastic promises for political hegemony. Moreover, Sisi is legible not just as a Trickster, but as a global actor in an “age of the Trickster.” While one might argue about whether a given politician truly deserves to be described as a Trickster, the figure of the Trickster is universal. One can scarcely contest its existence.
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K M, Nayana, and M. Anilkumar. "ROLE OF ENDOPHYTES IN PLANT DISEASE RESISTANCE." In Recent Trends in Endophyte Research, 177–202. Iterative International Publishers, Selfypage Developers Pvt Ltd, 2024. http://dx.doi.org/10.58532/nbennurch273.
Abstract:
A detailed understanding of the mechanism employed by endophytes to protect the plant from diseases is still crucial for both efficacy and marketing fields. The primary purpose of endophytes is to make plants resistant to disease. Endophytes present themselves as a repository of many bioactive metabolites. Phenolic acids, alkaloids, quinones, steroids, saponins, tannins, and terpenoids are among the important bioactive metabolites from endophytes. They are a desirable possibility for the production of antiviral, anticancer, antimalarial, antimalarial, antidiabetic, and antiinflammatory medicines. The majority of plant diseases are caused by microorganisms, with fungi, bacteria, and viruses coming in second and third. Applying agrochemicals is currently the primary strategy for controlling plant diseases. However, this approach has hazardous effects on both people and animals. The use of biology, which includes the use of bacterial endophytes in the biocontrol of a wide range of plant pathogens, offers an alternative to chemical pest control. Endophytic bacteria are a subclass of endosymbiotic microbes, which are common in plants and establish themselves in the spaces between and within all of the sections of the plant without harming the plant. In plants, endophytes symbolise a universal and fantastical universe. It has been discovered that almost all plant species investigated by various researchers possess one or more endophytes, which defend host plants from pathogen invasion and harmful environmental conditions. In addition to directly inhibiting pathogen growth, they can also support the growth and development of the host plants by producing a variety of metabolites. With the most recent research data, we want to clarify the contribution and important functions of endophytes and their metabolites in this field in this review, which focuses on the biological management of plant diseases. The use of endophyte metabolites to promote plant resistance is highly promising. Endophytes produce metabolites that are used to regulate plant disease
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Geiger, Christophe. "Copyright and Digital Libraries." In Digital Rights Management, 99–114. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2136-7.ch007.
Abstract:
Challenged by new technology, copyright is currently in turmoil. Increasingly regarded by the general public as a curb to the universal dissemination of knowledge, it seems to have no alternative but to include access to information in order to meet the challenges posed by the knowledge society.3 It might even be its ability to bring together opposing but complementary views that will guaranty its durability in the future and whether it can adapt to a new economic, technological and social environment. Copyright law has shown a remarkable ability to adapt to new developments in the past and has the necessary tools to ensure that this continues to be the case in the future, although the massive technological changes will probably require rethinking the mechanisms for its implementation. It is, therefore, necessary not to think in terms of opposing rights, but of the complementary nature of copyright and the right of access to information, so as to reconcile the two, which is both necessary and desirable. The issue of how to accommodate those two rights is of course of particular importance for libraries that wish to use the fantastic opportunities of digital technologies to both preserve and make accessible works in a easy and cost effective way to the public. Conceiving an optimal legal framework, allowing digital libraries to expand while at the same time securing a fair return to creators and editors might therefore constitutes one of the main challenges for copyright in the digital age. Accordingly, it will be necessary, first of all, to reiterate a number of basic principles of copyright law and carry out a brief historical survey. A study will then need to be carried out of how the advent of the information society has changed the existing balances. This will be followed by a brief discussion of recent developments in the legal provisions currently in force. This in turn would lead us to consider both the changes necessary to those provisions to ensure better access to information as well as certain initiatives that are either under way or planned, with the aim of striking a balance between the interests involved.
Conference papers on the topic "Fantastics universals":
1
Butnaru, Tatiana. "O problemă de circulaţie folclorică dintr-o perspectivă comparată." In Filologia modernă: realizări şi perspective în context european. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/filomod.2021.15.06.
Abstract:
În articolul de faţă este propusă spre analiză balada Voichiţa, cu versiunile sale româneşti, greceşti sau sârbești, de o largă circulaţie în arealul daco-român. Balada este cunoscută la mai multe popoare şi, după opinia specialiştilor, „subiectul artistic exploatează o concepţie tipică sud-est-europeană”. Este o baladă fantastică, de circulaţie universală, cu diferite întâmplări neprevăzute şi colizii de natură etică , care se menţine în limita dintre ficţiune şi realitate. În baladă este zugrăvită o realitate, de o largă semnificaţie epică, care se sprigină pe ritualurile de la nunţi şi înmormântări, relevă anumite fenomene, situaţii de viaţă arhaică, legate de practici şi interdicţii specifice în modul de existenţă al familiei patriarhale. Blestemul matern şi călătoria fratelui mort aprofundează nucleul epic al narațiunii, ce va menţine subiectul, în zona fabulosului mitic. Privită dintr-o altă perspectivă, balada vizează acţiunile omeneşti, aflate sub semnul predestinării malefice, în mrejele misterelor demonice.