Abstract

The range of subjects in Disney’s Fantasia is encyclopedic, placing it in a class with such very different works a Dante’s Divine Comedy, Goethe’s Faust, Melville’s Moby Dick, and Joyce’s Ulysses (cf. Mendelson on encyclopedic narrative and Moretti on the modern epic). The episodes are arranged such that they call on an increasing range of mental faculties with each succeeding episode. In discussions of individual episodes (all of them) I deal with ring-form, animated acting, Freudian undertones, the relationship between sound and imagery, and Jakobon’s poetic function.

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