Academic literature on the topic 'Fantasy hunting'
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Journal articles on the topic "Fantasy hunting"
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Middleton, Iris. "Fox Hunting Traditions: Fact or Fantasy?" Sport History Review 28, no. 1 (May 1997): 19–32. http://dx.doi.org/10.1123/shr.28.1.19.
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Mežimakov, Marko Gutić. "On Dragon Hunt and Mutual Transformability after Samuel R. Delany." Maska 38, no. 215 (September 1, 2023): 52–63. http://dx.doi.org/10.1386/maska_00159_4.
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Taking Samuel Delany’s SciFi novel Stars In My Pocket Like Grains of Sand as a point of departure, in a joint effort with other artists we’ve labored a work which is at once a dance, fantasy, and a queer road film. Its protagonists, animated by the weirdening landscape of the Dalmatian Hinterland and enraptured by the sound of the conch shell, partake in the melding tradition of Dragon Hunting. An exploration in somatics, media translation, mimicry, and the sensuous, Dragon Hunt is a result of mutual transformability exercised between fellow artist friends and different machine learning algorithms.
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Knighton, Mary A. "Toddler-Hunting in Wartime: Kōno Taeko’s “On the Inside”." Japanese Language and Literature 56, no. 2 (September 30, 2022): 473–517. http://dx.doi.org/10.5195/jll.2022.230.
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In the postwar 1960s, Kono Taeko (1926-2015) debuted with shocking stories of alienated modern women whose fantasies of pleasure in sadistic violence, masochism, and pederasty belied their otherwise routine exterior worlds. Kono's "Todder-Hunting" (Yojigari, 1961) remains most well known and representative but other works, including the Akutagawa Award-winning "Crabs" (Kani, 1963) that appeared in Lucy North's translated collection, cemented Kono's reputation and her reception in English as a writer of disturbing psychosexual fantasy. If critics read history into her work at all, it would be in order to note how Kono's heroines, like their author, emerged with such violent and repressed force on the literary scene precisely because of an unsustainable historical exclusion of women's voices. While this is partially true, it does not tell the whole story. This essay argues that Kono Taeko's fictional world can best be understood by also taking into account her reputation in Japan as a member of the senchuha, or wartime generation. In short, her wartime experiences in Osaka would go on to shape her choice of career and the kind of fiction she would later write. This essay analyzes in depth "Behind Bars" (Hei no naka, 1962), one of the few explicitly autobiographical works published by Kono around the same time as "Toddler Hunting," in order to contend that her wartime experiences of factory mobilization and terrifying daily bombing on the so-called "home front" would later shape her stories of violent gender relations, oppressive household institutions (ie seido), and lost childhood. Superimposing the irrational realities of wartime structures over fantasies of normal domestic life in "Behind Bars," Kono found a productive locus of distortion to motivate much of her later fiction.
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LOSSEFF, NICKY. "Casting Beams of Darkness into Bartók’s Cantata Profana." Twentieth-Century Music 3, no. 2 (September 2006): 221–54. http://dx.doi.org/10.1017/s1478572207000473.
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AbstractBéla Bartók’s Cantata Profana (1930) retains ambiguities inherent in the Romanian myth on which it is based – a story of nine hunting-lads magically transformed into stags. This article explores the mysterious elements through psychoanalysis, positing links between darkness, Bartókian ‘night music’, and the Unconscious. Other aspects of the musical language suggest representations of Lacanian processes, specifically a regressive fantasy to the mental order of the ‘Real’. This is linked to Bartók’s experience of childhood illness, a time of perfect maternal love but profound bodily betrayal, suggesting that the stag-body represents a strong, proud transformation, ‘replacing’ the debilitated body of childhood memory. Musically, the ‘mirror-image’ scales of the opening and ending of the work are re-examined. It is proposed that they represent Bartók acknowledging loss, most importantly the loss of the myth of ‘pure sources’, which had sustained him, both musically and psychologically, up until then. This loss inevitably sought expression after a disastrous polemical debate forced him to abandon the idea of musical purity in folksong.
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Kurysheva, Marina A. "Map of the Island of Crete in the Greek Manuscript Paris. gr. 2737 by 16th-Century Calligrapher Angelos Vergikios." Izvestia of the Ural federal university. Series 2. Humanities and Arts 25, no. 2 (2023): 42–50. http://dx.doi.org/10.15826/izv2.2023.25.2.022.
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For the first time in historiography, this paper introduces and analyses a unique miniature map of Crete from the manuscript Paris. gr. 2737 written by Angelos Vergikios, a famous sixteenth-century Greek calligrapher. This map illustrates the beginning of Book 3 of Pseudo-Oppian’s poem about hound hunting. The creator of the manuscript was a Cretan Greek who first emigrated to Italy and then to France. Naturally, for him Crete was an important location of his personal memory, so this miniature was especially elaborated and marked with the scribe’s special marginalia. An analysis of the peculiarities of the map of Crete suggests that the author of the miniature was also a native of Crete, which provides further support for the hypothesis that Vergikios’ daughter, whose name is unknown, was the miniaturist. For the creators of the manuscript, the miniature was primarily a reflection of their nostalgia for their lost homeland. The map seamlessly combines the ancient antique story of Zeus’ birth on Crete with the sixteenth-century system of four pillars of power of the Venetian maritime Empire on the island. Thus, the Byzantine image of a significant locus of the fantasy world of Antiquity is combined with the geopolitical reality of the Mediterranean of the Modern Age. Consequently, this miniature map illustrates the paradoxical mechanism of the revival of ancient tradition during the sixteenth century Renaissance very well by ‘reinventing’ it, i.e. by copying, revising and modernising the Byzantine model.
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Soncini, Gabriela Regina. "As fadas de lá: magias feéricas nos contos “A menina de lá” e “A caça à Lua”, de Guimarães Rosa / The Fairies There: Fairy Magic in Tales “The Girl There” and “The Hunting to the Moon” by Guimarães Rosa." O Eixo e a Roda: Revista de Literatura Brasileira 30, no. 1 (March 30, 2021): 233. http://dx.doi.org/10.17851/2358-9787.30.1.233-251.
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Resumo: Este artigo pretende fazer uma leitura da personagem “Nhinhinha”, do conto “A Menina de lá”, de Guimarães Rosa (1972), sob o viés da figura da personagem fada. Tal narrativa faz parte do livro Primeiras Estórias do escritor mineiro. Para complementar o estudo em relação à imagem da fada, este trabalho pretende analisar outra narrativa de Rosa (1970), o conto “A Caça à Lua”, que faz parte do livro Ave, Palavra e que apresenta também, como personagem, uma menina que remete tanto à própria “Nhinhinha”, como à figura da fada, criatura maravilhosa do imaginário popular, presente em várias narrativas tradicionais. Esta leitura recorrerá a escritos teóricos de J.R.R.Tolkien (2015), Italo Calvino (2010), Kátia Canton (1994), além de trazer postulações teóricas de Maurice Blanchot (2011) acerca do espaço literário de magia, do imaginário e do lugar da infância. Pontuações de Giorgio Agamben (2007) também serão evocadas para analisar afigura da fada como uma ajudante, ou seja, uma personagem de auxílio,que proporciona outra visão em relação ao olhar cotidiano. Outras postulações teóricas serão levantadas em relação à personagem fada,oriundas da mitologia célticae dos contos de fadas tradicionais, para entender a forma fluida entre vida, morte, magia, encanto e estranhamento, que as personagens dessas meninas apresentam nas narrativas de Rosa.Palavras-chave: Guimarães Rosa; fada; fantasia; contos de fadas; personagem.Abstract: This article intends to read the character “Nhinhinha” from the tale “The Girl There” by Guimarães Rosa (1972), under the image of the fairy character figure. Such narrative is part of the book First Stories by the writer from Minas Gerais, Brazil. To complement the study regarding the image of the fairy, this work intends to analyze another narrative by Rosa (1970), the short story “The hunting to the moon”, which is part of the book Bird, Word, and who also presents as a character a girl who refers so much to her own “Nhinhinha”, to the fairy figure, this wonderful creature from the popular imagination present in traditional narratives. This reading will use theoretical writings by J.R.R.Tolkien (2015), Italo Calvino (2010), Kátia Canton (1994), in addition to bringing theoretical postulations by Maurice Blanchot (2011) about the literary space of magic, the imaginary and the place of childhood. Scores by Giorgio Agamben (2007) will also be brought with regard to the fairy figure as a helper, that is, an aid character, that provides another view in relation to what has already been seen daily. Other theoretical postulations will be raised in relation to the fairy character brought from Celtic mythology, and traditional fairy tales, to understand the fluid form between life, death, magic, charm and strangeness, that the characters of these girls present in Rosa’s narratives.Keywords: Guimarães Rosa; fairy; fantasy; fairy tales; character.
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Li, Yuan. "Research on the Difference in Artistic Expression Style of Horse Images in Brick of Central Plains and Hexi Corridor." Communications in Humanities Research 3, no. 1 (May 17, 2023): 912–23. http://dx.doi.org/10.54254/2753-7064/3/2022688.
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Image brick is a carved wooden impression on the surface of semi-dry brick embossed pattern image, and then fired into a hard brick. Bricks originated in the Warring States Period and flourished in the Han Dynasty. They were mainly used for palace building and burial decoration. The performance techniques of the picture are Yin line carving, Yang line carving, and reducing the plane Yang carving. There are many subjects of expression, such as cooking, feasting, dancing, traveling, and hunting, as well as sowing, harvesting, salt Wells, and grazing in social production, as well as the fantasy of immortal people and beasts, and the emergence of fairies. Among them, the scene and frequency of the image of the "horse" are particularly prominent. The picture brick is like a silent camera, the ancient ancestors' life picture and mood long-cherished wish fixed frame on the Geng long stone wall. From the unearthed brick, the distribution area is mainly concentrated in Henan, Sichuan, Shandong, Jiangsu, northern Shaanxi, and Hexi Corridor, other areas also have different amounts of discovery. The author found that the image theme of the picture brick in each region has a universal unity; At the same time, different areas of brick portrayal content and expression techniques have their characteristics of difference. Taking the Yellow River as the dividing line, this paper selects the Central Plains where the number and types of unearthed bricks in the south of the Yellow River rank first in China, and compares them with the Hexi Corridor where the number of unearthed bricks in the west of the Yellow River is large and the style features are very prominent. Taking the image of "horse" as the main line, from the perspective of artistic aesthetics, through the analysis of the production technology and artistic expression style of the image of "horse" in the picture brick, trying to explore the different artistic expression differences of the same picture brick theme in the Central Plains and Hexi Corridor.
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Lacy, Sarah, and Cara Ocobock. "Woman the hunter: The archaeological evidence." American Anthropologist, September 4, 2023. http://dx.doi.org/10.1111/aman.13914.
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AbstractThe Paleo‐fantasy of a deep history to a sexual division of labor, often described as “Man the Hunter and Woman the Gatherer,” continues to dominate the literature. We see it used as the default hypothesis in anatomical and physiological reconstructions of the past as well as studies of modern people evoking evolutionary explanations. However, the idea of a strict sexual labor division in the Paleolithic is an assumption with little supporting evidence, which reflects a failure to question how modern gender roles color our reconstructions of the past. Here we present examples to support women's roles as hunters in the past as well as challenge oft‐cited interpretations of the material culture. Such evidence includes stone tool function, diet, art, anatomy and paleopathology, and burials. By pulling together the current state of the archaeological evidence along with the modern human physiology presented in the accompanying paper (Ocobock and Lacy, this issue), we argue that not only are women well‐suited to endurance activities like hunting, but there is little evidence to support that they were not hunting in the Paleolithic. Going forward, paleoanthropology should embrace the idea that all sexes contributed equally to life in the past, including via hunting activities.
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Gallouët, Catherine. "Les enjeux du discours sur la girafe au dix-huitième siècle, des naturalistes et Buffon à François le Vaillant." Topiques, études satoriennes 7, no. 1 (April 24, 2024). http://dx.doi.org/10.7202/1110889ar.
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<p>In the eighteenth century, the illustrations of natural history treatises betray the complex evolution of the image of the giraffe, divergent, even contrary representations, of an animal which belongs as much to reality as to fantasy. We know it from texts whose contradictions only sharpen curiosity about this fabulous animal that no one had yet seen. The different editions of Buffon's Natural History attest to the author's relentlessness in resolving the difficult question of the animal's horns, but also show the itinerary of a knowledge that is still evolving. It is François Le Vaillant, explorer, naturalist, ornithologist, who has the honor of finally presenting the giraffe to the scholarly community. Conquest of knowledge for the glory of science, certainly, but also intimate possession through the death of the coveted object, his account of hunting offers an unprecedented glimpse of a conquest that turns out to be as literal as scientific, the seed of other conquests to come.</p>
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Alpysbayeva, K. B., Т. Т. Akimova, and G. K. Shashayeva. "THE EXPRESSION OF ANCIENT MOTIFS IN THE EPIC POEM «DOTAN BATYR»." Keruen 78, no. 1 (March 20, 2023). http://dx.doi.org/10.53871/2078-8134.2023.1-03.
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The ancient epic is composed of mythical, fairy-tale, and legendary events, which to a certain extent artistically imagine the thinking, consciousness, beliefs, and worldview of the people of the first community. In the network of heritages of this category, there are fantasy scenes, mythical concepts about creation, plots during the transition from the era of matriarchy to the era of patriarchy, hunting profession, belief in witchcraft, dreams and visions, praying for children from saints, rapid growth of heroes, suitable choosing a horse and going on a long journey, encountering difficulties on the way, marrying heroically, etc. events are reflected. Folk works such as "Kulamergen", "Surmergen", "Kubygul", "Dotan batyr", "Edil-Zhaiyk" have been preserved among the epics that have reached the form of eposes. If we focus on the epos "Dotan batyr" among them, this epos is an example of an ancient epic enriched by the later epic tradition, although mythical and fairy-tale motifs predominate in this epos. Therefore, in the content of the work, a significant place is given to the events that describe the warring times between the Kazakhs and the Kalmyks. However, these plots arise and develop due to the motif of the hero's journey in search of a bride, which is very common in ancient epics, and passing the test during that journey. The ancient way of life in the work, the long stay of the hero in the land of the bride, and the remnants of the matriarchal society, testify to the primitive nature of the epic. Therefore, our task is to determine the specific manifestations of the ancient motifs in the epos during the analysis of the epic work.
Books on the topic "Fantasy hunting"
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Hendee, Barb. Hunting Memories. New York: Penguin USA, Inc., 2009.
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Hendee, Barb. Hunting memories. New York: Roc, 2009.
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Norton, Andre. Dare to Go A-Hunting. New York, NY: Tom Doherty Associates, 1990.
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Norton, Andre. Dare to Go A-Hunting. New York, NY: Tom Doherty Associates, 1990.
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Attanasio, A. A. Hunting the ghost dancer. London: GraftonBooks, 1992.
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Attanasio, A. A. Hunting the ghost dancer. London: Grafton, 1991.
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Attanasio, A. A. Hunting the ghost dancer. New York, N.Y: HarperCollins Publishers, 1992.
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Attanasio, A. A. Hunting the ghost dancer. New York, N.Y: HarperCollins Publishers, 1991.
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Hooper, Kay. Hunting fear. New York, NY: Bantam Books, 2004.
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Hooper, Kay. Hunting Fear. New York: Random House Publishing Group, 2004.
Find full textBook chapters on the topic "Fantasy hunting"
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Young, Joseph Rex. "“Dead Men Come Hunting” – Intrusion and Recovery." In George R.R. Martin and the Fantasy Form, 101–28. Routledge, 2019. http://dx.doi.org/10.4324/9781315144795-5.
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Limon, John. "The Art of War: The Contest and the Duel." In Writing After War, 9–31. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195087581.003.0002.
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Abstract Toward the beginning of our anthologies, Rip Van Winkle flees his wife the shrew, the termagant, the virago-to go hunting in the Catskills. Rip’s henpeckedness is no particular credit to his gender, and his hunting is not on a heroic scale (he stalks squirrels and pigeons); nevertheless, even men with a somewhat stronger title to the attributes of traditional masculinity, such as the hardboiled friends of Jake Barnes, know enough to flee women and go fishing rather than confront a superior female ruthlessness. So off in Irving’s tale goes a man with man’s best friend-a henpecked dog with the nostalgic name “Wolf’”-to indulge at least a poor man’s fantasy of a return to the better days of undomesticated hunting and killing.
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Fennell, Jack. "We Dare Not Go A-Hunting." In Rough Beasts, 23–49. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620344.003.0002.
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This chapter examines Irish fairy lore from the standpoint of ‘weird’ fiction. A subset of horror, fantasy and science fiction, weird fiction emphasises the chaotic nature of the universe and humanity’s precarious position within it, usually with reference to unfathomable scales of time and distance. The Book of Invasions, being the closest that Ireland has to a ‘creation’ myth, positions the Gaels as the last in a series of tribes to settle on the island, and the only fully human tribe in that series; the stories of the daoine sidhe, the original inhabitants of the country, complicate Ireland’s national history and imbue the very landscape with gruesome significance. The texts considered in this chapter all tap into this latent weirdness, whether by invoking the fairy-folk directly, through extrapolations of evolution, or via ruminations on antiquity and the Sublime.
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Weber, Robert J. "A Material World." In Forks, Phonographs, And Hot Air Balloons, 167–74. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195064025.003.0015.
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Abstract I can remember as a child experiencing a great thrill when a family friend gave me an arrowhead. Its flint texture and rough shape held the secrets of history in a way that my metal arrowheads did not. Using a flint-tipped arrow, I could easily imagine hunting buffalo, but the fantasy just wasn’t as rich with commercial metal-tipped arrows.
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Bensoussan, Nicole. "Passages to Fantasy : The Performance of Motion in Cellini’s Fontainebleau Portal and the Galerie François I." In Early Modern Spaces in Motion. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463725811_ch02.
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In the early 1540s, King Francis I commissioned Benvenuto Cellini to design a bronze portal for the Porte Dorée at Fontainebleau. It consisted of a tympanum depicting the ‘Nymph of Fontainebleau’ in a forest setting. The imagery revived the foundation myth of Fontainebleau as a bountiful hunting ground and water source. Although it was never completed, Cellini’s design presented the forest beyond the doors as a recreational space for the varied motions of the hunting ritual and the palace behind the doors as a space for the more choreographed ambulatory motion of guided diplomatic tours. This essay explores the complementarity in the staging of interior and exterior as zones of visual and somatic pleasure.
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Steinberg, Michael. "Robert Schumann." In The Symphony, 503–23. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195061772.003.0028.
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Abstract In 1839, Clara Wieck, soon to become Clara Schumann, noted in her diary that “it would be best if [Robert] composed for orchestra; his imagination cannot find sufficient scope on the piano. His compositions are all orchestral in feeling. “ Clara, already a celebrated pianist for more than half her twenty years, was in love with success and with the tools of success ( to borrow a phrase from the philosopher Ernst Bloch) and aware that her glittery recital pieces by Herz and Hunten, Kalkbrenner and Moscheles, produced more applause than her moody and poetic fiancé‘s Carnaval. In other words, her remark, which seems at first blush an odd one about the composer of the Davidsbündler, Carnaval, Phantasiestücke, Symphonic Etudes, Scenes from Childhood, Kreisleriana, the C-major Fantasy, and the Humoresque, may mean little more than that she was not yet convinced by, converted to, Robert ‘s piano style. It makes, in any event, ironic reading in view of the hard-dying notion that Schumann did not understand the orchestra and that his symphonies are “inflated piano music “ (as the late Gerald Abraham wrote not only in the fifth edition of Grove ‘s Dictionary of Music and Musicians [1954] but again in The New Grove of 1980).