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In Section I of this Note, I review the relevant literature and argue that the old moral and social externality arguments for banning or restricting fantasy sports do not hold up. While no particular path to regulation is the correct path, a comparative analysis of the functional structures of various speculative activities, and the legal and community control mechanisms apparent in each, provide some suggestions for what regulation should look like. In Sections II through V, I compare these speculative activities through four multidisciplinary lenses. In Section VI, I develop a recommended framework for legislation or regulation based on these comparisons and evaluate it against the laws recently implemented in New York and Massachusetts, the respective home states of FanDuel and DraftKings

Discusses the personal experience of coming to the realization of one's marginal status while occupying the roles of mother, wife, teacher, & woman. Little of the emerging feminist theorizing penetrated the life of one who graduated from Oxford U (England) in the late 1960s & quickly entered into the role of young motherhood. However, experience as a part-time instructor catalyzed a movement toward feminist & class concerns & allowed the development of female friendships that spurred a process of self-discovery. Helping revise an introductory class on feminist history offered an opportunity to reflect on the dilemmas & possibilities of embracing this marginalized status. This reflection has revealed a deep desire for belonging & corresponding fear of being an outsider, which are linked to a more generalized fantasy of stability. It is concluded that true intellectual freedom means facing such desires & fantasies & forging beyond them into the liminal state of marginality. 12 References. D. M. Ryfe

PurposeThis research aims to extend brand relationship theory to the domain of online gaming by augmenting the understanding of the role played by fantasy state in digital game in impacting gamers' immersive relationships with digital game brands. In this quest, the research examines how fantasy state in game (FSG) creates game brand immersion (GBI) through the mediation of emotional game brand attachment (EGBA) and the roles of individual's need for escapism (NE) and anxious attachment style (AAS) in moderating the aforementioned relationships.Design/methodology/approachThe research employs a pre-test followed by two quantitative studies. Quantitative data were analyzed using the PROCESS macro.FindingsResults from Study 1 illustrate that perceived fantasy in game generates EGBA, which, in turn, predicts GBI. Further, Study 2 establishes that the effect of fantasy in game on EGBA is moderated by gamer's NE. The moderating effect of NE is moderated by individual's AAS.Originality/valueValue of the study lies in extending consumer–brand relationship theory to digital gaming domain which enhances the understanding of how fantasy state in digital game can lead to GBI and the roles played by individual personality characteristics like escapism motivation and AAS in the process.

Adoption touches on basic personal and cultural narratives, emotions and fantasies surrounding the self and family. Amal Treacher and ***Ilan Katz explore the narratives of all those involved in the process — both professionals and those with personal investments. They draw on contemporary theory of narrative and psychoanalytic theory of fantasy in order to explore and understand some of the issues arising in adoption. A central contention is that all identity, whether adopted or not, is multifaceted, inherently conflicted and constantly developing. The theoretical and emotional endeavour is to place this view of identity as a central backbone to understanding adoption. The authors argue that many narratives and fantasies function to pass over problematical feelings and fantasies. For example, life story books can silence the difficulties experienced for the adoptee and may not allow space for an exploration of troublesome feelings and fantasies. They contend that maturity is based on the capacity to face up to contradictions and conflict, and to allow for such complex narratives.

At the end of the 1970s, a new genre cycle was formed in US cinema. Starting with space opera in cinema, for which George Lucas' Star Wars is paradigmatic, fantasy established itself for the first time as an independent cinematic genre in distinction from fairy tales and fantastic fiction. The enthusiasm for pen & paper role-playing games and the continuing J. R. R. Tolkien craze culminated in the following years in a series of films that absorbed, pushed and further developed the diversity of modern film technology and production: the spectrum of films ranged from live-action films (Conan the Barbarian) to puppet animation (The Dark Crystal) to animated films (The Last Unicorn), in which George Lucas as well as Jim Henson and the production companies behind them at the time played leading roles. Contemporary critics had written these films off as conservative, sometimes even reactionary genre plays. In contrast, this essay unfolds a (historical) poetics of the US fantasy film. With its film-analytical case studies, the volume shows how the films of the years 1977 to 1987 are embedded in a specific film culture and how the genre cycle as part of the Hollywood system prepared and significantly influenced the triumph of blockbuster cinema in the 1990s.

Since the 1960s, anime on both film and television has become a part of global screen culture. It is Miyazaki Hayao who may take the credit for being the most highly regarded anime filmmaker known across the world. The global popularity and success of his films encourage us to link his works to transnationalism. But is Miyazaki transnational only because of his global popularity? There is another perspective in which we may take Miyazaki's transnationalism: through film aesthetics and narrative, for his works may be said to enable mobile fantasy. While discussing transnationalism, many film studies scholars focus on the discussion of film production, distribution, exhibition and reception in relation to economic globalization. Mette Hjort points out the complication and sometimes confusion in the way that transnationalism is defined. She argues the term transnationalism is often used to describe "a series of assumptions about the networked and globalized realities that are those of a contemporary situation." These assumptions, however, do not define transnationalism explicitly. The reality of economic globalization is a space we are well aware of. I am more interested, however, in studying how cinematic transnationalization takes place in the space of an imaginary. Apart from political, cultural and economic enterprises, transnational magic is also embedded in film aesthetics, narrative and its psychological effects on audiences. It is in this connection that I propose a notion of what I will call mobile fantasy. This chapter will first re-conceptualise the theory of transnational cinema in order to link transnationalism to a notion of imaginary space and to mobile fantasy. It will then focus on Miyazaki's works as a case study, by looking into two main characteristics of his films – the question of a surreal world, and the theme of childhood.

In the 1960s, George Lamming and Sylvia Wynter dismissed the highly successful novelist John Hearne, arguing that his work was weakened by its nostalgic focus on the plantocracy. Their assessment shaped scholarly opinion until the present. This chapter departs from Lamming and Wynter by claiming that Hearne's novels offer an importantly nuanced depiction of the middle class as well as an important vision of the Caribbean as part of a hemispheric American culture stretching from North to South America. While suggesting the critically misunderstood value of Hearne, however, the chapter ultimately argues that after his first novel, Hearne's focus on an Afro-creole planter class – depicted with an apparently unconscious nostalgia – constitutes a failure to engage with the region's political present and future.