A Little Golden Book starring Mickey Mouse as the sorcerer's apprentice from the classic 1940 film Walt Disney's Fantasia! Mickey Mouse causes all sorts of problems when he puts on a sorcerer's hat and uses magic to get his chores done. Before long, an army of walking brooms have caused a giant flood! Can Mickey make everything right again? "The Sorcerer's Apprentice" is the most-beloved segment from Walt Disney's animated classic Fantasia, released in 1940. This Little Golden Book, retelling the magical tale, was originally published in 1995. Children ages 2 to 5, as well as collectors of ages, will love this newly published version!

Mickey Mouse steals the sorcerer's hat and disaster occurs.

In this beautifully illustrated hardcover storybook, Mickey Mouse is an apprentice to a great and powerful sorcerer. But will Mickey be able to stop the magical spell he cast to finish his chores? Mickey Mouse is an apprentice to a great and powerful sorcerer. When Mickey tries on the Sorcerer's magic hat, he casts a magical spell to finish his boring chores. But then, things start to go very wrong! Will Mickey be able to stop the magic he's unleashed? Find out in this beautifully illustrated hardcover storybook based on one of the most beloved stories from Walt Disney’s classic film Fantasia.

Instead of learning to use magic wisely, the sorcerer's apprentice wants to use it to get out of doing chores.

In TASCHEN's first volume of one of the most expansive illustrated publications on Disney animation, 1,500 images take us to the beating heart of the studio's "Golden Age of Animation." Derived from the XXL book, this new edition again includes behind-the-scenes photos, story sketches, and cel setups of famous film scenes. It spans each of the...

In Search of the Sorcerer's Apprentice is the first book in English to be devoted to Lucian's Philopseudes or Lover of Lies (c. 170s AD). It comprises an extensive discussion, with full translation, of this engaging and satirical Greek text with its ten tales of magic and ghosts. One of these is the famous story of The Sorcerer's Apprentice, and this conveys the flavour of the rest. In other tales a plague of snakes is blasted with a miraculous scorching breath, a woman is drawn to her admirer by an animated cupid doll, and a haunted house is cleansed of its monstrous ghost. The Philopseudes stands at the intersection of three of the liveliest fields in the study of antiquity: magic, traditional narratives, and the Lucianic oeuvre itself. Ogden's cross-fertilising expertise in all three of these fields enables him to build sophisticated analyses for each of the tales and to place them sensitively in their historical, cultural and literary contexts. Among the themes of the work are Lucian's methods of adapting motifs from traditional narratives, and the text's overlooked Cynic voice.

As a noted composer and critic, Paul Dukas was a major figure in fin-de-siècle and early twentieth-century French music. Best known for L'Apprenti sorcier, he was internationally recognised as an artist and intellectual ofdistinction who contributed significantly to Parisian musical cultures and critical debates. As a noted composer and critic, and later an editor and composition teacher, Paul Dukas (1865-1935) was a major figure in fin-de-siècle and early twentieth-century French music. Although his catalogue of published scores was relatively modest in quantity, he was internationally recognised as an artist and intellectual of distinction who contributed significantly to Parisian musical cultures and critical debates as they evolved from the 1890s until the 1930s Moving in the same circles as Debussy and Fauré, as well as networking with trailblazers such as the Ballets Russes director Sergei Diaghilev and the conductor Serge Koussevitzky, Dukas created works that reflect French sensibilities but also resonate with transnational audiences. L'Apprenti sorcier is still his best-known work, while the opera Ariane et Barbe-Bleue has been revived and remains relevant for the twenty-first century. Works such as the Piano Sonata and the ballet La Péri respectively exemplify the twin attractions of tradition and progress for the composer. Intensely self-critical, however, he ended up destroying many of his scores. This book is the first full-length Anglophone study of Dukas. It perceives his critical essays as a form of creative, philosophical thought that synthesised the riches of the Parisian music scene yet also represented the formationand development of his own artistic voice. Investigating Dukas's interrelated identities as composer and critic, it seeks to explain his broad aesthetic motivations and artistic agenda. LAURA WATSON is Lecturer in Musicat Maynooth University.