Fantasy
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Fantasy is a genre of speculative fiction involving magical elements, typically set in a fantasy world and usually inspired by mythology or folklore. The term "fantasy" can also be used to describe a "work of this genre",[1] usually literary.
Its roots are in oral traditions, which became fantasy literature and drama. From the twentieth century, it has expanded further into various media, including film, television, graphic novels, manga, animations, and video games.
The expression fantastic literature is also often used to refer to this genre by the Anglophone literary critics.[2][3][4][5] An alternate term for the genre is phantasy,[6] although this is rarely used.
Fantasy is distinguished from the genres of
Traits
Many works of fantasy use
An identifying trait of fantasy is the author's use of narrative elements that do not have to rely on history or nature to be coherent.[9] This differs from realistic fiction in that realistic fiction has to attend to the history and natural laws of reality, where fantasy does not. In writing fantasy the author uses worldbuilding to create characters, situations, and settings that may not be possible in reality.
Many fantasy authors use real-world folklore and mythology as inspiration;[10] and although another defining characteristic of the fantasy genre is the inclusion of supernatural elements, such as magic,[11] this does not have to be the case.
Fantasy has often been compared to science fiction and horror because they are the major categories of speculative fiction. Fantasy is distinguished from science fiction by the plausibility of the narrative elements. A science fiction narrative is unlikely, though seemingly possible through logical scientific or technological extrapolation, where fantasy narratives do not need to be scientifically possible.[9] Authors have to rely on the readers' suspension of disbelief, an acceptance of the unbelievable or impossible for the sake of enjoyment, in order to write effective fantasies. Despite both genres' heavy reliance on the supernatural, fantasy and horror are distinguishable from one another. Horror primarily evokes fear through the protagonists' weaknesses or inability to deal with the antagonists.[12]
History
Early history
While some elements of the
The most well known fiction from the
Beowulf is among the best known of the Old English tales in the English speaking world, and has had deep influence on the fantasy genre; several fantasy works have retold the tale, such as
John Gardner's
There are many works where the boundary between fantasy and other works is not clear; the question of whether the writers believed in the possibilities of the marvels in A Midsummer Night's Dream or Sir Gawain and the Green Knight makes it difficult to distinguish when fantasy, in its modern sense, first began.[24]
Modern fantasy
Although pre-dated by John Ruskin's The King of the Golden River (1841), the history of modern fantasy literature is usually said to begin with George MacDonald, the Scottish author of such novels as Phantastes (1858) and The Princess and the Goblin (1872); the former is widely considered to be the first fantasy novel ever written for adults. MacDonald was a major influence on both J. R. R. Tolkien and C. S. Lewis.[25] The other major fantasy author of this era was William Morris, an English poet who wrote several novels in the latter part of the century, including The Wood Beyond the World (1894) and The Well at the World's End (1896).
Despite MacDonald's future influence with
Political and social trends can affect a society's reception towards fantasy. In the early 20th century, the
Fantasy became a genre of
By 1950, "
The popularity of the fantasy genre has continued to increase in the 21st century, as evidenced by the best-selling status of
Media
Several fantasy film adaptations have achieved blockbuster status, most notably The Lord of the Rings film trilogy directed by Peter Jackson, and the Harry Potter films, two of the highest-grossing film series in cinematic history.
Fantasy role-playing games cross several different media. Dungeons & Dragons was the first tabletop role-playing game and remains the most successful and influential. According to a 1999 survey in the United States, 6% of 12- to 35-year-olds have played role-playing games. Of those who play regularly, two thirds play D&D.[31] Products branded Dungeons & Dragons made up over fifty percent of the RPG products sold in 2005.[32]
The science fantasy role-playing game series Final Fantasy has been an icon of the role-playing video game genre (as of 2012[update] it was still among the top ten best-selling video game franchises). The first collectible card game, Magic: The Gathering, has a fantasy theme and is similarly dominant in the industry.[33]
Classification
By theme (subgenres)
Fantasy encompasses numerous
- Bangsian fantasy, interactions with famous historical figures in the afterlife, named for John Kendrick Bangs
- Comic fantasy, humorous in tone
- Contemporary fantasy, set in the modern world or a world based on a contemporary era but involving magic or other supernatural elements
- Dark fantasy, including elements of horror fiction
- Extruded fantasy product, derogatory term for derivative works[34]
- Fables, stories with non-human characters, leading to "morals" or lessons
- Fairy tales themselves, as well as fairytale fantasy, which draws on fairy tale themes
- Fantastic poetry, poetry with a fantastic theme
- Fantastique, a genre characterized by the intrusion of supernatural elements into the realistic framework of a story, accompanied by uncertainty about their existence
- Fantasy of manners, or mannerpunk, focusing on matters of social standing in the way of a comedy of manners
- Gods and demons fiction (shenmo), involving the gods and monsters of Chinese mythology
- "Grimdark" fiction, a somewhat tongue-in-cheek label for fiction with an especially violent tone or dystopian themes
- Hard fantasy, whose supernatural aspects are intended to be internally consistent and explainable, named in analogy to hard science fiction
- Heroic fantasy, concerned with the tales of heroes in imaginary lands
- High fantasy or epic fantasy, characterized by a plot and themes of epic scale
- Historical fantasy, historical fiction with fantasy elements
- Isekai, people transported from the real world to a different one, mainly in Japanese fiction (anime, light novels and manga)
- Juvenile fantasy, children's literaturewith fantasy elements
- LitRPG, set in a table-top or computer role-playing game, and depicting the progression and mechanics of the game
- Low fantasy, characterized by few or non-intrusive supernatural elements, often in contrast to high fantasy
- Magic realism, a genre of literary fiction incorporating minor supernatural elements
- Magical girl fantasy, involving young girls with magical powers, mainly in Japanese fiction
- romantic fiction with supernatural or fantasticcreatures
- Romantic fantasy, focusing on romantic relationships
- Science fantasy, fantasy incorporating elements from science fiction such as advanced technology, aliens and space travel but also fantastic things
- Steampunk, a genre which is sometimes a kind of fantasy, with elements from the 19th century steam technology (historical fantasy and science fantasy both overlap with it)
- Sword and sorcery, adventures of sword-wielding heroes, generally more limited in scope than epic fantasy
- Urban fantasy, set in a city
- New Weird
- Xianxia (genre), Chinese martial-arts fiction often incorporating fantasy elements, such as gods, fairies, demons, magical realms and reincarnation
By the function of the fantastic in the narrative
In her 2008 book Rhetorics of Fantasy,
- Portal fantasy
- In "portal-quest fantasy" or "portal fantasy", a fantasy world is entered, behind which the fantastic elements remain contained. A portal-quest fantasy typically tends to be a quest-type narrative, whose main challenge is navigating the fantastical world.[37] Notable examples include L. Frank Baum's The Wonderful Wizard of Oz (1900), C. S. Lewis' The Lion, the Witch and the Wardrobe (1950),[38] and Stephen R. Donaldson's late-1970s series The Chronicles of Thomas Covenant.[39] In Japan, the genre of portal fantasy is known as isekai (Japanese: 異世界, transl. "different world" or "otherworld"), which has developed its own set of conventions.
- Immersive fantasy
- In "immersive fantasy", the fictional world is seen as complete, its fantastic elements are not questioned within the context of the story, and the reader perceives the world through the eyes and ears of viewpoint characters native to the setting. This narrative mode "consciously negates the sense of wonder" often associated with science fiction, according to Mendlesohn. She adds that "a sufficiently effective immersive fantasy may be indistinguishable from science fiction" as the fantastic "acquires a scientific cohesion all of its own". This has led to disputes about how to classify novels such as Mary Gentle's Ash (2000) and China Miéville's Perdido Street Station (2000).[40]
- Intrusion fantasy
- In "intrusion fantasy", the fantastic intrudes on reality (unlike portal fantasies), and the protagonists' engagement with that intrusion drives the story. Usually French-speaking countries, it is considered as a genre distinct from fantasy, the fantastique.
- Liminal fantasy
- In "liminal fantasy", the fantastic enters a world that appears to be our own. The marvelous is perceived as normal by the protagonists at the same time as it disconcerts and estranges the reader. This is a relatively rare mode. Such fantasies often adopt an ironic, blasé tone, as opposed to the straight-faced mimesis more common to fantasy.[43] Examples include Joan Aiken's stories about the Armitage family, who are amazed that unicorns appear on their lawn on a Tuesday, rather than on a Monday.[42]
Subculture
Publishers, editors, authors, artists, and scholars with interest in the fantasy genre get together yearly at the
Additionally, many science fiction conventions, such as Florida's
According to 2013 statistics by the fantasy publisher Tor Books, men outnumber women by 67% to 33% among writers of historical, epic or high fantasy. But among writers of urban fantasy or paranormal romance, 57% are women and 43% are men.[44]
Analysis
Fantasy is studied in a number of disciplines including English and other language studies, cultural studies, comparative literature, history and medieval studies. Some works make political, historical and literary connections between medievalism and popular culture.[45]
French literature theorists as
Rosemary Jackson builds onto and challenges as well Todorov's definition of the fantastic in her 1981 nonfiction book Fantasy: The Literature of Subversion. Jackson rejects the notion of the fantastic genre as a simple vessel for wish fulfillment that transcends human reality in worlds presented as superior to our own, instead positing that the genre is inseparable from real life, particularly the social and cultural contexts within which each work of the fantastic is produced. She writes that the "unreal" elements of fantastic literature are created only in direct contrast to the boundaries set by its time period's "cultural order", acting to illuminate the unseen limitations of said boundaries by undoing and recompiling the very structures which define society into something "strange" and "apparently new". In subverting these societal norms, Jackson claims, the fantastic represents the unspoken desire for greater societal change. Jackson criticizes Todorov's theory as being too limited in scope, examining only the literary function of the fantastic, and expands his structuralist theory to fit a more cultural study of the genre—which, incidentally, she proposes is not a genre at all, but a mode that draws upon literary elements of both realistic and supernatural fiction to create the air of uncertainty in its narratives as described by Todorov. Jackson also introduces the idea of reading the fantastic through a psychoanalytical lens, referring primarily to Freud's theory of the unconscious, which she believes is integral to understanding the fantastic's connection to the human psyche.[48]
There are however additional ways to view the fantastic, and often these differing perspectives come from differing social climates. In their introduction to The Female Fantastic: Gender and the Supernatural in the 1890s and 1920s, Lizzie Harris McCormick, Jennifer Mitchell, and Rebecca Soares describe how the social climate in the 1890s and 1920s allowed for a new era of "fantastic" literature to grow. Women were finally exploring the new freedoms given to them and were quickly becoming equals in society. The fear of the new women in society, paired with their growing roles, allowed them to create a new style of "fuzzy" supernatural texts. The fantastic is on the dividing line between supernatural and not supernatural, Just as during this time period the women were not respecting the boundary of inequality that had always been set for them. At the time, women's roles in society were very uncertain, just as the rules of the fantastic are never straightforward. This climate allowed for a genre similar to the social structure to emerge. The fantastic is never purely supernatural, nor can the supernatural be ruled out. Just as women were not equal yet, but they were not completely oppressed. The Female Fantastic seeks to enforce this idea that nothing is certain in the fantastic nor the gender roles of the 1920s. Many women in this time period began to blur the lines between the genders, removing the binary out of gender and allowing for many interpretations. For the first time, women started to possess more masculine or queer qualities without it becoming as much of an issue. The fantastic during this time period reflects these new ideas by breaking parallel boundaries in the supernatural. The fantastic breaks this boundary by having the readers never truly know whether or not the story is supernatural.[49]
Related genres
- Horror
- Science fantasy
- Science fiction
- Superhero fiction
- Supernatural fiction
- Utopian and dystopian fiction
See also
- Fantasy literature
- Outline of fantasy
- List of fantasy authors
- List of fantasy novels
- List of fantasy worlds
- List of genres
- List of high fantasy fiction
- List of literary genres
- Fantastique
- Theosophical fiction
- Worldbuilding
References
- ^ "Fantasy". The Free Dictionary. Retrieved 3 May 2023.
- ^ Rabkin, Eric (1975). The Fantastic in Literature. Princeton: Princeton University Press.
- ^ Jackson, Rosemary (1981). Fantasy: The Literature of Subversion. London: Methuen.
- ^ Armitt, Lucy (1996). Theorising the Fantastic. London: Arnold.
- ^ Sandner, David (2004). Fantastic Literature: A Critical Reader. Westport: CT: Praeger.
- ^ Encyclopedia Britannica. 28 November 2022. Retrieved 3 May 2023.
- OCLC 46769544.
- Encyclopedia Britannica. Retrieved 3 May 2023.
- ^ ISBN 0-521-72873-8
- ISBN 0-312-19869-8
- ^ Diana Waggoner, The Hills of Faraway: A Guide to Fantasy, p 10, 0-689-10846-X
- ^ Charlie Jane Anders (24 December 2015). "The Key Difference Between Urban Fantasy and Horror". io9. Retrieved 11 February 2017.
- ISBN 0-312-19869-8.
- ^ ISBN 978-0195300208.
- ^ ISBN 978-0486419527.
- ISBN 978-0141395951.
- ISBN 0-292-70204-3.
- ISBN 0-253-21157-3.
- ^ ISBN 0-415-93890-2.
- ^ ISBN 0-312-19869-8
- ISBN 0-312-19869-8
- ISBN 0-312-19869-8
- ^ ISBN 0-312-19869-8
- ISBN 0-253-35665-2
- ISBN 978-0-19-931607-6.
- ISBN 0-15-667897-7
- ISBN 0-253-35665-2
- ISBN 978-0-520-93724-6.
- ISBN 0-87054-076-9
- ISBN 0-312-85175-8
- ^ Dancey, Ryan S. (7 February 2000). "Adventure Game Industry Market Research Summary (RPGs)". V1.0. Wizards of the Coast. Retrieved 23 February 2007.
- ^ Hite, Kenneth (30 March 2006). "State of the Industry 2005: Another Such Victory Will Destroy Us". GamingReport.com. Archived from the original on 20 April 2007. Retrieved 21 February 2007.
- ^ ICv2 (9 November 2011). "'Magic' Doubled Since 2008". Retrieved 10 November 2011.
For the more than 12 million players around the world [...]
{{cite web}}
: CS1 maint: numeric names: authors list (link) The "twelve million" figure given here is used by Hasbro; while through their subsidiary Wizards of the Coast they would be in the best position to know through tournament registrations and card sales, they also have an interest in presenting an optimistic estimate to the public. - ^ Walton, Jo (29 August 2008). "My love-hate relationship with fantasy". Tor.com.
- Project MUSE book 21231.
- ^ Mendlesohn, "Introduction"
- ^ Mendlesohn, "Introduction: The Portal-Quest Fantasy"
- ^ Mendlesohn, "Chapter 1"
- ^ Senft, Michael (19 March 2020). "From Wonderland to Outlander, Your Guide to Portals to Other Worlds". Phoenix New Times. Retrieved 20 August 2022.
- ^ Mendlesohn, "Introduction: The Immersive Fantasy"
- ^ Mendlesohn, "Introduction: The Intrusion Fantasy"
- ^ a b Mendlesohn, "Chapter 3"
- ^ Mendlesohn, "Introduction: The Liminal Fantasy"
- ^ Crisp, Julie (10 July 2013). "SEXISM IN GENRE PUBLISHING: A PUBLISHER'S PERSPECTIVE". Tor Books. Archived from the original on 30 April 2015. Retrieved 29 April 2015.
- ^ Jane Tolmie, "Medievalism and the Fantasy Heroine", Journal of Gender Studies, Vol. 15, No. 2 (July 2006), pp. 145–158. ISSN 0958-9236
- ISBN 2020043742.
- ^ Lem, Stanislaw. "Todorov's Fantastic Theory of Literature".
- ^ Jackson, Rosemary, "Fantasy: The Literature of Subversion", Methuen & Co. Ltd., 1981, introduction (pp. 2–10)
- ISBN 978-0-8153-6402-3
Further reading
- Apter, T. E. Fantasy Literature: An Approach to Reality (Bloomington: Indiana University Press, 1982)
- Brooke-Rose, Christine, A Rhetoric of the Unreal: Studies in Narrative and Structure, Especially of the Fantastic (Cambridge: Cambridge University Press, 1981)
- Capoferro, Riccardo, Empirical Wonder: Historicizing the Fantastic, 1660–1760 (Bern: Peter Lang, 2010)
- Cornwell, Neil, The Literary Fantastic: From Gothic to Postmodernism (New York: Harvester Wheatsheaf, 1990)
- Siebers, Tobin, The Romantic Fantastic (Ithaca: Cornell University Press, 1984)
- Traill, Nancy, Possible Worlds of the Fantastic: The Rise of the Paranormal in Fiction (Toronto: University of Toronto Press, 1996)
External links
- The Encyclopedia of Fantasy online