Fantasy: Difference between revisions

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==='''Portal'''===
==='''Portal'''===


Portal Fantasy begins with a magical doorway connecting two worlds separated by space and time. The hero either passes through it willingly or is summoned to the other world. The hero usually spends the whole story trying to get home.<ref>http://bestfantasybooks.com/fantasy-genre.php#portal-fantasy</ref> This isn't always the case. In the Harry Potter series, the main characters would prefer to be in the magical world versus the [[Muggle]] world. In portal fantasy, not only can you travel to different places you can travel to different times. In [[Miss Peregrine's Home for Peculiar Children]] by Ranson Riggs, one of the main characters uses time travel to go back to 1940. Portal fantasies are often about ensuring that the worlds stay divided. [http://bestfantasybooks.com/portal-fantasy.html] In the Harry Potter series, the magical folk make it a priority that the Muggles have no idea that their world exists. Ultimately, aside from moving from the real world into another more magical world, portal fantasy is a versatile and open-ended sub-genre where anything is possible. <ref>http://bestfantasybooks.com/portal-fantasy.html</ref>
[[File:J. K. Rowling 2010.jpg|thumb|J. K. Rowling, Author of Harry Potter series]]Portal Fantasy begins with a magical doorway connecting two worlds separated by space and time. The hero either passes through it willingly or is summoned to the other world. The hero usually spends the whole story trying to get home.<ref>http://bestfantasybooks.com/fantasy-genre.php#portal-fantasy</ref> This isn't always the case. In the Harry Potter series, the main characters would prefer to be in the magical world versus the [[Muggle]] world. In portal fantasy, not only can you travel to different places you can travel to different times. In [[Miss Peregrine's Home for Peculiar Children]] by Ranson Riggs, one of the main characters uses time travel to go back to 1940. Portal fantasies are often about ensuring that the worlds stay divided. <ref>http://bestfantasybooks.com/portal-fantasy.html</ref> In the Harry Potter series, the magical folk make it a priority that the Muggles have no idea that their world exists. Ultimately, aside from moving from the real world into another more magical world, portal fantasy is a versatile and open-ended sub-genre where anything is possible. <ref>http://bestfantasybooks.com/portal-fantasy.html</ref>




Revision as of 12:18, 4 July 2015

The Iliad, Achilles and Hector

Fantasy literature is a genre of narrative fiction that grows out of supernatural elements, like magic. Fantasy refers to the imaging of something that is not actually there. Sometimes coupled with the science fiction genre, fantasy differs in that it steers clear of scientific themes. In comparison, science fiction deals with elements that have not been proven but could potentially happen, and fantasy deals with elements thought to be generally impossible.[1]

Some of the earliest works of the fantastic, such as the Iliad and the Odyssey, contributed prominent elements to the modern day fantasy, including themes of transformation and journeys to exotic lands.[2] Because of its lengthy and rich heritage, fantasy is believed to be the antecedent from which all other genres came.

Fantasy is notable as the only form of literature that consistently blurs the boundaries between adult fiction and children’s fiction.[3] In recent years, fantasy has conquered box offices and best seller lists with novels and novel based films, like the Harry Potter and the Lord of the Ring series. Fantasy also plays a major role in the video gaming world where players potentially write their own storylines through interactions made within the game.

Origins

Fantasy dates as far back as the third century B.C.[4] Homer’s Iliad and Odyssey contributed many prominent elements to fantasy such as motifs of illusion and delusion as well as journeys to exotic lands.[1] The Babylonian Gilgamesh epic (c. 200 b.c.e.) is our earliest example of the hero quest story.[1] Alexander Romance, with its earliest versions appearing in the third century, is a Greek novel about the mythical adventures of Alexander, the Great.[5] The romance is fantastical in nature because he “battles with non-human opponents--the giant crabs, monstrous beasts, dragons or pygmy people of the lands beyond the world".[6]

These heroes with higher powers and mythical creatures are written about even centuries later in Classical, Celtic, and Norse mythology. However, it is Greek mythology that has made the most impact on fantasy.[7] The works all involve elements of other worlds, gods, dragons, and monsters.[8] Greek mythology introduced other elements, including the tortured hero, like Heracles, prophecies, and monsters and beasts, like Cyclopes and Pegasus. Sphinx, Centaurs, and evil sorceress were prevalent in Greek mythology and fantasy borrows from these creatures as well.[7]

Gillian Polack writes “if speculative fiction includes all fiction that pushes the boundaries of the known and the experience and incorporates elements of the numinous, the magical, and the inexplicable, than a range of medieval texts are readable as science fiction or fantasy”.[9] Some of these texts might include Beowulf (ca 700 AD) and Sir Thomas Malory’s Le Morte D’Arthur (ca 1470; printed 1485), notable for the legend of King Arthur.[8]

Other worlds are important in the plot of Jonathan Swift’s Gulliver’s Travels (1726) and instrumental in the development of fantasy. Brothers Grimm, with their grotesque fairy tales published between 1812-15,contributed to the genre as well.[8]

It was during the 18th Century that contemporary fantasy first appeared in fictional traveler’s tales. In the late 19th Century, it gained popularity as its own distinct genre.[10] For example, it was in 1977 when Brooks’ The Sword of Shannara made the bestseller list;[8] a story of evil warlocks, other worlds, and a powerful sword.[11] The popularity of J.R.R. Tolkien’s The Hobbit and Lord of the Rings were also part of the movement into mainstream culture.[10]

Types of Fantasy

Fantasy is divided into several different sub genres, each with its own identifying characteristics.

Portal

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J. K. Rowling, Author of Harry Potter series

Portal Fantasy begins with a magical doorway connecting two worlds separated by space and time. The hero either passes through it willingly or is summoned to the other world. The hero usually spends the whole story trying to get home.[12] This isn't always the case. In the Harry Potter series, the main characters would prefer to be in the magical world versus the Muggle world. In portal fantasy, not only can you travel to different places you can travel to different times. In Miss Peregrine's Home for Peculiar Children by Ranson Riggs, one of the main characters uses time travel to go back to 1940. Portal fantasies are often about ensuring that the worlds stay divided. [13] In the Harry Potter series, the magical folk make it a priority that the Muggles have no idea that their world exists. Ultimately, aside from moving from the real world into another more magical world, portal fantasy is a versatile and open-ended sub-genre where anything is possible. [14]


Secondary World

Secondary World fiction is different fictional scenarios. These scenarios mirror the author's thoughts rather than what actually happens in the world.[15] In the author's fictional world things get very intense, by having several dimensions, locations, characters, languages, and timeline all being inter-dependent. The author attempts to make the reader feel as if they are in this secondary world. It seems unreal, but it explores and unveils the rules and nature of that world. Dark, Low, Heroic, and High fantasies are different types of fantasy literature that use secondary world with in the narratives.


High Fantasy

High Fantasies include characters such as dragons, elves, wizards and dwarfs that can be found in a secondary wold. Many times the plots are serious with the main hero fighting evil forces. Contemporary high fantasies either exclude the primary world, parallel the primary world with the secondary world, or have the hero enter the secondary world from the primary world through a portal.[16] "The Lord of the Rings" is a high fantasy novel.[17] The ring symbolizes power and evil(only if held by the wrong forces); it was created by the The Dark Lord Sauron to rule over middle-earth.[18] It is more powerful than other power rings within the secondary world. The "Eye or Sauron" is a representation of darkness. The "Eye" is used to protect Mordor and give Lord Sauron the ability to see all.


Heroic Fantasy

Heroic fantasies follow the hero's story within the secondary world. Most heroes are humble and reluctant to go on the journey. They learn, grow, and become self-aware along their trials and tribulations. Problems presented in the plot are those of the hero not of the secondary or primary world.[19] Frodo Baggins from the Lord of the Rings battles with wizards, dwarfs, and other creatures along the quest to destroy the "ring" in the fire of Mount Doom.[20] The Journey Frodo embarks on is a test of survival; he travels thousands of miles, on foot escaping the black riders, and fighting off Sauron's men holding the only ring that controls middle earth. Throughout his journey he struggles with keeping the ring for himself or having it destroyed.


Low Fantasies

Low Fantasies are set in the real world with magical components.[21] Low Fantasy can be described as an opposition to High Fantasy with non rational events occurring in a rational setting. It does not consist of magical creatures or land. Low Fantasy stories mainly focus on the individual’s daily life.Harry Potter is an example of a very popular Low Fantasy novel. The series showcases the adventures of a young wizard. Harry’s quest is to overcome the Dark wizard Lord Voldemort. Lord Voldemort wants to become immortal and conquer the wizard world. His plan is to destroy all of the people in his way. American Gods is another novel that displays Low Fantasy.[22] The point of this story was that gods and mythical creatures existed simply because people believed in them. Immigrants brought spirits and gods with them to the United States.The conflict is the war between the new gods and the old ones.


Dark Fantasies

Dark fantasies are stories that use elements of horror. The focus of a Dark Fantasy is not to scare the reader, it is to expose the reader to different creatures.[23] This makes it very different from actual horror. The Hunger Games is a great example, taking place in a nation called Panem. Panem was the result of destruction of their continent’s civilization due to a tragic event.This novel is written in the voice of a 16 year old named Katniss Everdeen.[24] The hunger games is an event that is held between a boy and a girl between the ages of 12 and 18. This is a televised battle between the two. They battle until the death.


Epic Fantasy

Epic fantasy, often mistaken for high fantasy, takes its name from the tradition of epic poetry. Like epic poetry, epic fantasy novels have many characters and long, complex plots which help shape the nature of the world.[25] Epic fantasy tales have a high level of magic and violence. Although epic fantasy can be traced back to the epic of Beowulf and Gilgamesh, epic fantasy is still the most popular sub-genre of fantasy. Modern versions of epic fantasy tend to be more complicated and realistic. The difference between right and wrong is not as easily separated. The most popular epic fantasy novels of today are J.R.R. Tolkien’s The Lord of the Rings and George R.R. Martin’s A Game of Thrones.[26]


Sword and Sorcery

Sword and sorcery is characterized by heroes engaging in action and violence in fast paced stories. [27] Tales of sword and sorcery are narrowly focused unlike High Fantasy stories which focus more on personal stakes and are self-contained.


Folklore

Folklore comes from tales passed down by word of mouth. It’s made up of informal expressions passed around long enough to have become recurrent in form and content, but changeable in performance.[28] This sub-genre consist of myths, legends, fables, and fairy tales. Myth is that which occurs in time-out-of-time. A myth is concerned with why the world is the way it is, and so unfolds in a setting that is distinct from time or place as it is currently recognized.[29] It is stories from every culture, that, for centuries have explained natural phenomena and answered questions people have about the human condition: origin and creation stories, stories about life, death and life after death.[30] Legend occurs in “historical time” although it typically mixes fact with fiction. Usually with legends there is doubt about its credibility. They are unexplained tales warped by the human imagination. A legend can be either about a person or a place. For example, King Arthur, Robin Hood, Atlantis are all types of legends. Fables are described as a didactic lesson given through some sort of animal story.[31] In Western society, the most common fables are by Aesop, consisting of short stories like The Tortoise and the Hare, and The Ant and the Grasshopper. Fairytales are short stories, typically with no author, but it still can be recognized despite many variations of the story. A fairytale is similar to myths, legends and fables. It can be either told orally or in text, the content of the story can come from historical content, and usually have a moral at the end of the story. Fairytales typically feature European folkloric fantasy characters, such as dwarfs, elves, fairies, giants, gnomes, goblins, mermaids, trolls, or witches, and usually magic or enchantments.[32] These type of stories withstand long periods of time because they are an embodiment of a culture, contain fundamental human truths by which people have lived for centuries, or they are simply entertaining.[33]


Magic Realism

Magical Realism is a subgenre of fantasy that fuses realistic fiction with magical elements that creates a mythical perception of the real world. Alejo Carpentier refers to magical realism as “unexpected alteration of reality … and unaccustomed insight that is singularly favored by the unexpected richness or an amplification of the scales categories of reality”.[34] Unlike most science fiction or fantasy genres, magical realism is not speculative.[35] Magical realists tell stories from a real world perspective, but the reader is to experience a different reality rather than the objective. [36]

Unlike most fantasy pieces, magical realism does not use imaginary or unseen devices such as angels or ghosts to make the story fanatical. Magical realism stresses normal element of the world to make the setting of the story to make the reader feel like they are in a different world. Readers are often can view the reality it two different ways. With magical elements amplifying the state of mind of the reader, time and space are often challenged and the identity is often broken.[37]


The New Weird

Ann and Jeff Vandermeer state in The New Weird, New Weird is "a type of urban, secondary-world fiction that subverts the romanticized ideas about place found in traditional fantasy, largely by choosing realistic, complex real-world models as the jumping off point for creation of settings that may combine elements of both science fiction and fantasy. [38] The New Weird originates from The New Wave of the 1960s. A genre that was experimental and very political in its point of view. Characteristics include the grotesque of 1980’s literature. The genre is the mix of science fiction, fantasy, and supernatural horror.[38]

Popular authors of the New Weird include China Mieville, Richard Calder, Jonathan Carroll, James Morrow, John Crowley, and many more.[39]


Romantic Fantasy

Romance fantasy stories share the same basic story line. The heroine has lost her place in society and must form new relationships, including social, political, and romantic relationships, in order to gain acceptance elsewhere. The heroine usually possesses magical powers and falls in love with a man who is also capable of performing magic. However, the magic in romance fantasy is much gentler. The heroine and the hero discover together how their powers can be used in order to restore good. Unlike realistic novels, romantic fantasy novels can end unhappily. Although there is little to no violence, non-graphic sex is common.[40]

Fantasy in Media

An important factor in the development of the fantasy genre was the arrival of magazines devoted to fantasy fiction. When Weird Tales, the first English language fantasy fiction magazine was created, the pulp magazine format was at the height of its popularity.[41] This magazine brought fantasy fiction in audiences in both the U.S. and Britain, and because of this magazine, science fiction and fantasy began to be associated with each other.[41] In 1950s, epic fantasy hit mainstream with J.R.R. Tolkien’s epic fantasy, The Lord of the Rings.

The American Film Institute defines the Hollywood fantasy film as “a genre where live action characters inhabit imagined settings and/or experience situations that transcend the rules of the natural world”.[42] Because of the components of fantasy, animation seems to inhabit an unavoidable position in fantasy cinema.[42]

Fantasy is greatly emphasized in the video gaming world. Many include subterranean settings, the vocabulary of elves, wizards, goblins, magical swords, etc. and follow a classic heroic journey. Video games enable players to create fantasy worlds for themselves where they were heroic, active, and respected. Many fantasy video games follow the theme of kill or be killed or contain very suggestive violence as seen in the Grand Theft Auto and World of Warcraft games.


References

  1. ↑ 1.0 1.1 1.2 Kelleghan, Fiona. Classics Of Science Fiction And Fantasy Literature. Pasadena, Calif: Salem Press, 2002. eBook Academic Collection (EBSCOhost). Web. 1 July 2015.
  2. ↑ Kelleghan, 2002
  3. ↑ Sanchez, Matt. "Genre Fiction As Literature - Fantasy - Page 2." Genre Fiction As Literature - Fantasy - Page 2. 2005. Web. 2 July 2015. <http://iml.jou.ufl.edu/projects/Spring05/Sanchez/fantasy2.htm>
  4. ↑ Farah, Mendlesohn, and James Edward. "From Myth to Magic." A Short History of Fantasy. London: Middlesex UP, 2009. Page 9. Print.
  5. ↑ "Alexander Romance." Wikipedia. Wikimedia Foundation, 1 Sept. 2005. Web. 2 July 2015.<https://en.wikipedia.org/wiki/Alexander_romance>.
  6. ↑ Netton, Ian Richard, Kyle Erickson, and Richard Stoneman. The Alexander Romance In Persia And The East. Groningen: Barkhuis, 2012. Page XI. eBook Collection (EBSCOhost). Web. 30 June 2015.<http://ezproxy.mga.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=795755&ebv=EB&ppid=pp_XI>.
  7. ↑ 7.0 7.1 "Fantasy Influences: Ancient Greek Mythology – Part One." FantasyFaction RSS. Fantasy-Faction, 2015. Web. 2 July 2015.<http://fantasy-faction.com/2012/fantasy-influences-ancient-greek-mythology-part-one>.
  8. ↑ 8.0 8.1 8.2 8.3 "Fantasy 100 - Brief History of Fantasy." Fantasy 100 - Brief History of Fantasy. Peter Sykes & Fantasy 100. Web. 2 July 2015.<http://fantasy100.sffjazz.com/admin_history.html>.
  9. ↑ Reid, Robin Anne. Women In Science Fiction And Fantasy. Westport, Conn: Greenwood, 2009. Page 1. eBook Collection (EBSCOhost). Web. 30 June 2015.<http://ezproxy.mga.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=280925&site=ehost-live&ebv=EB&ppid=pp_Vol1_1>.
  10. ↑ 10.0 10.1 "History of Fantasy." Wikipedia. Wikimedia Foundation, 1 Aug. 2005. Web. 2 July 2015.<https://en.wikipedia.org/wiki/History_of_fantasy>.
  11. ↑ Brooks, Terry. The Sword of Shannara. New York: Ballantine, 1977. Print.
  12. ↑ http://bestfantasybooks.com/fantasy-genre.php#portal-fantasy
  13. ↑ http://bestfantasybooks.com/portal-fantasy.html
  14. ↑ http://bestfantasybooks.com/portal-fantasy.html
  15. ↑ Walter, Damien G. "Secondary World Problems." SECONDARY WORLD PROBLEMS. N.p., 15 Apr. 2012. Web. 02 July 2015. <http://damiengwalter.com/2012/04/15/secondary-world-problems/>
  16. ↑ "High Fantasy." Wikipedia. Wikimedia Foundation, n.d. Web. 02 July 2015. <https://en.wikipedia.org/wiki/High_fantasy>.
  17. ↑ "The Lord of the Rings." Wikipedia. Wikimedia Foundation, n.d. Web. 02 July 2015. <https://en.wikipedia.org/wiki/The_Lord_of_the_Rings>.
  18. ↑ "Sauron." The One Wiki to Rule Them All. N.p., n.d. Web. 02 July 2015. <http://lotr.wikia.com/wiki/Sauron>.
  19. ↑ "Heroic Fantasy." Heroic Fantasy. N.p., n.d. Web. 02 July 2015. <http://tvtropes.org/pmwiki/pmwiki.php/Main/HeroicFantasy>.
  20. ↑ "Frodo Baggins." The One Wiki to Rule Them All. N.p., n.d. Web. 02 July 2015. <http://lotr.wikia.com/wiki/Frodo_Baggins>.
  21. ↑ "Low Fantasy." Low Fantasy. N.p., n.d. Web. 02 July 2015. http://www.how-to-write-a-book-now.com/low-fantasy.html
  22. ↑ "Neil's Work." "Neil's Work | Books | American Gods." Neil Gaiman | Neil's Work. N.p., n.d. Web. 02 July 2015. http://www.neilgaiman.com/works/Books/American+Gods/in/180/
  23. ↑ Anderson, Colleen."Writing: What Is Dark Fantasy?" N.p., 15 Apr. 2011. Web. 03 July 2015. https://colleenanderson.wordpress.com/2011/04/15/writing-what-is-dark-fantasy/
  24. ↑ "The Hunger Games’ Katniss Everdeen: The Heroine the World Needs Right Now." Wired.com. Conde Nast Digital, n.d. Web. 03 July 2015. http://www.wired.com/2012/03/katniss-everdeen-hollywood-heroines/
  25. ↑ Smith, Chloe. "What Makes 'Epic Fantasy' Epic." Fantasy Faction. 23 Nov. 2013. Web. 26 June 2015. http://fantasy-fiction.com/2013/what-makes-epic-fantasy-epic
  26. ↑ "Epic Fantasy." Best Fantasy Books. Web. 26 June 2015. http://bestfantasybooks.com/epic-fantasy.html
  27. ↑ https://en.wikipedia.org/wiki/Sword_and_sorcery
  28. ↑ Grey, Elspeth. "Folklore: An Appeal to Fantasy Authors to Get It Right." That Character Dies. 16 Dec. 2013. Web. 2 July 2015. <https://thatcharacterdies.wordpress.com/2013/12/17/folklore-an-appeal-to-fantasy-authors-to-get-it-right/>.
  29. ↑ Grey, 2013
  30. ↑ http://study.com/academy/lesson/the-fable-folktale-myth-legend-differences-and-examples.html
  31. ↑ http://literarydevices.net/fable/
  32. ↑ https://en.wikipedia.org/wiki/Fairy_tale
  33. ↑ http://www2.nkfust.edu.tw/~emchen/CLit/Folk_lit.htm
  34. ↑ "Magical Realism." Magical Realism. Web. 3 July 2015. <http://www3.dbu.edu/mitchell/magical.htm>
  35. ↑ "Magical Realism." Magical Realism. Web. 3 July 2015. <http://www3.dbu.edu/mitchell/magical.htm>
  36. ↑ Holland Rogers, Bruce. "What Is Magical Realism, Really?" Writing-World.com. Web. 3 July 2015. <http://www.writing-world.com/sf/realism.shtml>
  37. ↑ "Magical Realism." Magical Realism. Web. 3 July 2015. <http://www3.dbu.edu/mitchell/magical.htm>
  38. ↑ 38.0 38.1 "The New Weird: "It's Alive?"" The New Weird. Ed. Ann VanderMeer and Jeff VanderMeer. San Francisco: Tachyon Publications, 2008. Page XVI. Print.
  39. ↑ Davies, Alice."Science Fiction Research Association." New Weird 101. 2010. Web. 2 July 2015. <http://www.sfra.org/sf101newweird>.
  40. ↑ "Romantic Fantasy." Best Fantasy Books. Web. 26 June 2015. http://bestfantasybooks.com/romantic-fantasy.html
  41. ↑ 41.0 41.1 "Fantasy." Wikipedia. Wikimedia Foundation. Web. 3 July 2015.
  42. ↑ 42.0 42.1 "Cfp.english.upenn.edu." Fantasy/Animation: A Conference on Media, Medium and Genre. Web. 3 July 2015.
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