| Papers [1-7] of 7 | Search results on "FANTASIA": |
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"Fantasia: An Algerian Cavalcade", 2002.
A review of the novel "Fantasia: An Algerian Cavalcade" by Djebar on the Algerian female freedom fighter.
1,150 words (approx. 4.6 pages), 4 sources, $ 44.95
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Abstract
This paper looks at the novel Fantasia: An Algerian Cavalcade, by Djebar as she brings forth the role of the women freedom fighter against the imperialist regime of man and the changing history used to write these women from the annals of Algerian history.
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"Fantasia: An Algerian Cavalcade", 2005.
Examines women's education in a colonial atmosphere through this book by Assia Djebar.
1,062 words (approx. 4.2 pages), 1 source, APA, $ 37.95
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Abstract
This paper discusses the liberating yet disruptive nature of educating women in an imperialistic society, using Assia Djebar's "Fantasia: An Algerian Cavalcade" which talks about the education of women in colonized Algeria.
From the Paper
"This image of the hand that is being led into an education links and contrasts with "the severed hand of an anonymous Algerian woman" (226) that was found by the French tourist-painter Fromentin in the wake of "a terrible siege" (by the French colonial forces) at an oasis on the edge of the desert in Algeria, reported in the final chapter of Fantasia. With this imagery, a woman's education is portrayed as being a battle in the war that is the sometimes death-defying struggle for women's rights."
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Fantasia, 1994.
An examination of the innovations, music, animation techniques and styles in the 1939 Walt Disney cartoon feature.
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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From the Paper
"Walt Disney's 1939 animated feature Fantasia was a marriage of music and animation that drew upon all of the animation techniques in use at the time and that extended the range of the animated film to a great degree. Fantasia would also be a highly influential film, though it was not widely imitated as a feature film because of the cost and the uncertainty about whether commercial audiences would pay to see other animated films of this type. Classical music, after all, was not widely popular in the way other forms of music were then or now, and Fantasia had the advantage of being unique in its time. The most openly imitative feature to follow would come some time later with Allegro non Troppo by Italian animator Bruno Bozzetto in 1976. What was most influential about Fantasia and what would be imitated most by other filmmakers were some of the animation..."
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"Fantasia" & "Allegro Non Troppo", 1999.
Compares 1939 & 1976 animated films' uses of music, styles, audiences and characters.
1,800 words (approx. 7.2 pages), 3 sources, $ 63.95
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From the Paper
" Walt Disney's 1939 animated feature Fantasia was a marriage of music and animation that drew upon all of the animation techniques in use at the time and that extended the range of the animated film to a great degree. Fantasia would also be a highly influential film, though it was not widely imitated in terms of feature films because of the great expense involved and the uncertainties of a commercial audience for to many of this type of animated film. Classical music, after all, was not widely popular in the way other forms of music were then or now, and Fantasia had the advantage of being unique in its time. The most openly imitative feature to follow would come some time later with Allegro non Troppo by Italian animator Bruno Bozzetto in 1976. Bozzetto deliberately covers much of the same territory as he takes a satiric thrust at the earlier film, and the two films.."
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Bach's Organ Music, 2007.
A description and analysis of four of Johann Sebastian Bach's compositions of organ music.
2,246 words (approx. 9.0 pages), 11 sources, MLA, $ 69.95
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Abstract
This paper discusses four works that Bach composed to be played on the organ (which he himself played). It discusses the Toccata and Fugue in D minor, BWV 565; the Fantasia and Fugue in G minor, BWV 542 "Great G minor"; the Passacaglia and Fugue in C minor, BWV 582; and the Concerto for Organ solo in A minor, BWV 593 (after Vivaldi). The paper looks at each work and then describes how these works influenced many later composers in the process.
Table of Contents:
Introduction
Toccata and Fugue in D minor, BWV 565
Fantasia and Fugue in G minor
Passacaglia and Fugue in C minor
Concerto for Organ solo in A minor
Conclusion
From the Paper
"Bach wrote a variety of organ music, much of it requiring considerable skill on the part of the organist, presumably so he could demonstrate his own skill with the organ. This is reminiscent of similar ways of demonstrating skill on the violin for Paganini, or on the piano by Liszt. Bach extended the reach of the organ in these works and influenced many later composers in the process. Many of his organ works were from an early period in his career, in keeping with his role as church composer and organist in various venues."
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The Philosophy of Childhood, 2007.
This paper explores D. H. Lawrence's philosophy of childhood and child development.
6,416 words (approx. 25.7 pages), 20 sources, MLA, $ 148.95
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Abstract
The paper discusses Lawrence's philosophical works "Psychoanalysis and the Unconscious" and "Fantasia of the Unconscious" as well as his novels, "The Rainbow" and Women in Love". The paper explains Lawrence's philosophical works in parallel with these two novels in order to show Lawrence's conceptions of both childhood development and the unconscious as well as the precise nature of the relationship between his fictional and philosophical texts. The paper explores the way Lawrence characterises childhood development as a fall from Edenic childhood to adult consciousness. The paper then portrays how Lawrence's narratives of childhood development function in terms of his writing as a whole.
From the Paper
"D. H. Lawrence wrote in the foreword to Fantasia of the Unconscious that his philosophical works, or 'pseudophilosoph[ies],' were 'deduced from the novels and poems, not the reverse', thus indicating that his two closely-related works Psychoanalysis and the Unconscious and Fantasia of the Unconscious were to be seen as exegeses of the ideas presented within his novels. As the titles of these two works indicate, of primary interest to Lawrence was the concept of the 'unconscious,' a large part of his exploration of which was based around ideas of childhood development. Of Lawrence's novels, The Rainbow and Women in Love perhaps deal most explicitly with these themes, presenting the development of not just one character, but of several successive generations of the Brangwen family. This being the case, reading Lawrence's philosophical works in parallel with these two novels should provide an illuminating view of not only Lawrence's conceptions of both childhood development and the unconscious but also the precise nature of the relationship between Lawrence's fictional and philosophical texts."
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D. H. Lawrence and Freud, 2002.
A discussion of the relationship between Sigmund Freud and D. H. Lawrence in Lawrence's work.
6,920 words (approx. 27.7 pages), 12 sources, MLA, $ 156.95
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Abstract
This paper attempts to take a psychoanalytical view of the work of the novelist D. H. Lawrence and discusses the underlying reasons for the obscenities in some of his works such as "The Rainbow" which was was prosecuted under the Obscene Publications Act and destroyed by order of the court. It evaluates whether Freud's two books, "Psychoanalysis and the Unconscious" and "The Fantasia" which were published in the two years following Lawrence's success in finally securing the publication of "Women in Love", are, in part, explanations--perhaps even justifications--of that shocking book and of other facets of his literary production up to that point. It examines how the two books lay out the views on human psychology and the promptings of the unconscious that had contributed so much to the underlying scheme of "Women in Love" and others.
From the Paper
"The characters in Women in Love were deliberately created in a way that rejected, as Lawrence put it, "the old stable ego of the character" and plumbed, instead, the depths of the unconscious (quoted in Kinkead-Weekes xiv). These characters were subject to change in accordance with the pull of forces and drives which they only partially comprehended but were acutely interested in understanding more fully. They were, and, as Lawrence suggested, we all are, "unstable and governed by subterranean impulse" while moving through lives that are in constant flux--ideas which his readers "found much more threatening or even outrageous than mere sexual explicitness" (Kinkead-Weekes xiv). The basic difficulty of expressing such ideas through the construction of literary characters and finding the language that was best suited to this purpose would have made the composition of Women in Love difficult enough for a writer who believed that his book could be published. But Lawrence, in spite of all his difficulties, was intensely moved and fascinated by the process of writing that spurred him to go deeper into the unconscious than, he believed, anyone had delved before."
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