Results 321 to 330 of about 482,662 (398)
Some of the next articles are maybe not open access.
Challenge Accepted: Why Women Play Fantasy Football
Journal of Sport Management, 2018Women represent the fastest growing demographic for the fantasy sports industry, making up approximately 38% of fantasy football participants. To help understand this growth, this study was an attempt to explore why women play fantasy football.
Brendan Dwyer +2 more
semanticscholar +1 more source
2022
Abstract One of the dominant modes of storytelling in the twenty-first century, fantasy can mirror contemporary experiences and convey our anxieties and longings better than any representation of the merely real. It is the lie that speaks truth.
openaire +1 more source
Abstract One of the dominant modes of storytelling in the twenty-first century, fantasy can mirror contemporary experiences and convey our anxieties and longings better than any representation of the merely real. It is the lie that speaks truth.
openaire +1 more source
2011
Fantasy addresses a previously neglected area within film studies. The book looks at the key aesthetics, themes, debates and issues at work within this popular genre and examines films and franchises that illustrate these concerns. Contemporary case studies include:Alice in Wonderland (2010)Avatar (2009)The Dark Knight (2008)Edward Scissorhands (1990 ...
Furby, Jacqueline, Hines, Claire
openaire +2 more sources
Fantasy addresses a previously neglected area within film studies. The book looks at the key aesthetics, themes, debates and issues at work within this popular genre and examines films and franchises that illustrate these concerns. Contemporary case studies include:Alice in Wonderland (2010)Avatar (2009)The Dark Knight (2008)Edward Scissorhands (1990 ...
Furby, Jacqueline, Hines, Claire
openaire +2 more sources
2017
This chapter slowly teases apart a psychoanalytic notion of fantasy from the more common parlance, to illustrate not simply the differences between “fantasy and fantasy,” but also their antagonism. While common everyday fantasy is always on some level a site of freedom—or at least its image—psychoanalytic fantasy is a site of bondage and constraint, a ...
openaire +1 more source
This chapter slowly teases apart a psychoanalytic notion of fantasy from the more common parlance, to illustrate not simply the differences between “fantasy and fantasy,” but also their antagonism. While common everyday fantasy is always on some level a site of freedom—or at least its image—psychoanalytic fantasy is a site of bondage and constraint, a ...
openaire +1 more source
Folklore, fantasy and indigenous fantasy
2016In Chapter 4 we argued that in the inter-war period myth, folk tale and fairy tale were mostly kept separate from fantasy: even in Patricia Lynch's The Turf-Cutter's Donkey (1934) which used all three, the result was three distinct sections with their own flavours.
openaire +1 more source
2017
This chapter discusses the key concepts and logic that undergird the remainder of the book. Given that they come centrally from Freud, Laclau and Mouffe, Žižek, and, above all, Lacan, this does not make for the easiest reading. With much of this material, and especially with so cumbersome an apparatus as Lacan's, there is no such thing as excursus ...
openaire +1 more source
This chapter discusses the key concepts and logic that undergird the remainder of the book. Given that they come centrally from Freud, Laclau and Mouffe, Žižek, and, above all, Lacan, this does not make for the easiest reading. With much of this material, and especially with so cumbersome an apparatus as Lacan's, there is no such thing as excursus ...
openaire +1 more source
2017
This chapter argues that the present of postmodernism has come to seem like a stalled present, an agitated but idle meanwhile. This is precisely what Hasselhoff, Rostropovich, and Bernstein were trying to do, consciously and unconsciously: to show this perpetual present coming into being by putting on a show.
openaire +1 more source
This chapter argues that the present of postmodernism has come to seem like a stalled present, an agitated but idle meanwhile. This is precisely what Hasselhoff, Rostropovich, and Bernstein were trying to do, consciously and unconsciously: to show this perpetual present coming into being by putting on a show.
openaire +1 more source