Fantasy

Fantasy is a genre of fiction that commonly uses magic and other supernatural phenomena as a primary element of plot, theme, or setting. Many works within the genre take place in imaginary worlds where magic is common. Fantasy is generally distinguished from science fiction and horror by the expectation that it steers clear of (pseudo-)scientific and macabre themes, respectively, though there is a great deal of overlap between the three, all of which are subgenres of speculative fiction.

In popular culture, the genre of fantasy is dominated by its medievalist form, especially since the worldwide success of The Lord of the Rings books by J. R. R. Tolkien. In its broadest sense, however, fantasy comprises works by many writers, artists, filmmakers, and musicians, from ancient myths and legends to many recent works embraced by a wide audience today.

Fantasy is a vibrant area of academic study in a number of disciplines (English, cultural studies, comparative literature, history, medieval studies). Work in this area ranges widely, from the structuralist theory of Tzvetan Todorov, which emphasizes the fantastic as a liminal space, to work on the connections (political, historical, literary) between medievalism and popular culture.^[1]

Traits of fantasy

The identifying traits of fantasy are the inclusion of fantastic elements in a self-coherent (internally consistent) setting, where inspiration from mythology and folklore remains a consistent theme.^[2] Within such a structure, any location of the fantastical element is possible: it may be hidden in, or leak into the apparently real world setting, it may draw the characters into a world with such elements, or it may occur entirely in a fantasy world setting, where such elements are part of the world.^[3] Essentially, fantasy follows rules of its own making, allowing magic and other fantastic devices to be used and still be internally cohesive.^[4]

History

Beginning perhaps with the Epic of Gilgamesh and the earliest written documents known to humankind, mythic and other elements that would eventually come to define fantasy and its various subgenres have been a part of some of the grandest and most celebrated works of literature. From The Odyssey to Beowulf, from the Mahabharata to The Book of One Thousand and One Nights, from the Ramayana to the Journey to the West, and from the Arthurian legend and medieval romance to the epic poetry of the Divine Comedy, fantastical adventures featuring brave heroes and heroines, deadly monsters, and secret arcane realms have inspired many audiences. In this sense, the history of fantasy and the history of literature are inextricably intertwined.

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.^[5]

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 The Princess and the Goblin and Phantastes (1858), the latter of which 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. The other major fantasy author of this era was William Morris, a popular English poet who wrote several novels in the latter part of the century, including The Well at the World's End.

Despite MacDonald's future influence with At the Back of the North Wind (1871), and Morris's popularity with his contemporaries, it wasn't until the 20th century that fantasy fiction began to reach a large audience. Lord Dunsany established the genre's popularity in both the novel and the short story form. Many popular mainstream authors also began to write fantasy at this time, including H. Rider Haggard, Rudyard Kipling and Edgar Rice Burroughs. These authors, along with Abraham Merritt, established what was known as the "lost world" sub-genre, which was the most popular form of fantasy in the early decades of the 20th century, although several classic children's fantasies, such as Peter Pan and The Wonderful Wizard of Oz, were also published around this time.

Indeed, juvenile fantasy was considered more acceptable than fantasy intended for adults, with the effect that writers who wished to write fantasy had to fit their work in a work for children.^[6] Nathaniel Hawthorne wrote many early works verging on fantasy, but in A Wonder-Book for Girls and Boys, intended for children, wrote fantasy.^[7] For many years, this and successes such as Alice's Adventures in Wonderland (1865), created the circular effect that all fantasy works, even the later The Lord of the Rings, were therefore classified as children's literature.

In 1923 the first all-fantasy fiction magazine, Weird Tales, was created. Many other similar magazines eventually followed, most noticeably The Magazine of Fantasy and Science Fiction. The pulp magazine format was at the height of its popularity at this time and was instrumental in bringing fantasy fiction to a wide audience in both the U.S. and Britain. Such magazines were also instrumental in the rise of science fiction, and it was at this time the two genres began to be associated with each other.

By 1950 "sword and sorcery" fiction had begun to find a wide audience, with the success of Robert E. Howard's Conan the Barbarian and Fritz Leiber's Fafhrd and the Gray Mouser stories.^[8] However, it was the advent of high fantasy, and most of all J. R. R. Tolkien's The Hobbit and The Lord of the Rings which reached new heights of popularity in the late 1960s, that allowed fantasy to truly enter the mainstream.^[9] Several other series, such as C. S. Lewis's Chronicles of Narnia and Ursula K. Le Guin's Earthsea books, helped cement the genre's popularity.

The popularity of the fantasy genre has continued to increase in the 21st century, as evidenced by the best-selling status of J. K. Rowling's Harry Potter books. Several fantasy film adaptations have achieved blockbuster status, most notably The Lord of the Rings film trilogy directed by Peter Jackson.

Criticism of fantasy includes its being called "second rate" literature; but author Terry Brooks rebutted this when he answered a question on his official website:

People who view fantasy as second rate or childish are usually people who don't read or understand it. I like to tell them that good fantasy is social commentary combined with good storytelling - Tolkien, C. S. Lewis, the Oz stories and so many others. Sure, the stories take place in an imaginary world. But those worlds mirror our own and tell us things about ourselves that need to be said and understood. I also like to tell them how often other forms of literature use fantasy as the bedrock of their own stories. Fantasy transcends its own form in wider scope than any other type of writing.^[10]

Media

Fantasy is a popular genre, having found a home for itself in almost every medium. While fantasy art and recently fantasy films have been increasingly popular, it is fantasy literature which has always been the genre's primary medium.

Fantasy role-playing games cross several different media. The "pen & paper" role-playing game Dungeons & Dragons was the first and is the most successful and influential, and the science fantasy role-playing game series Final Fantasy has been an icon of the console RPG genre.

Subgenres

Modern fantasy, including early modern fantasy, has also spawned many new subgenres with no clear counterpart in mythology or folklore, although inspiration from mythology and folklore remains a consistent theme. Fantasy subgenres are numerous and diverse, frequently overlapping with other forms of speculative fiction in almost every medium in which they are produced. A couple of examples are the science fantasy and dark fantasy subgenres, which the fantasy genre shares with science fiction and horror, respectively.

Subculture

Professionals such as publishers, editors, authors, artists, and scholars within the fantasy genre get together yearly at the World Fantasy Convention. The World Fantasy Awards are presented at the convention. The first WFC was held in 1975, and it has occurred every year since. The convention is held at a different city each year.

Additionally, many science fiction conventions, such as Florida's FX Show and MegaCon, cater to fantasy and horror fans. Anime conventions, such as Ohayocon or Anime Expo frequently feature showings of fantasy, science fantasy, and dark fantasy series and films, such as Majutsushi Orphen (fantasy), Sailor Moon (urban fantasy), Berserk (dark fantasy), and Spirited Away (fantasy). Many science fiction/fantasy and anime conventions also strongly feature or cater to one or more of the several subcultures within the main subcultures, including the cosplay subculture (in which people make and/or wear costumes based on existing or self-created characters, sometimes also acting out skits or plays as well), the fan fiction subculture, and the fan video or AMV subculture, as well as the large internet subculture devoted to reading and writing prose fiction and/or doujinshi in or related to those genres.

References

^ Jane Tolmie, "Medievalism and the Fantasy Heroine", Journal of Gender Studies, Vol. 15, No. 2 (July 2006), pp. 145–158. ISSN 0958-9236
^ John Grant and John Clute, The Encyclopedia of Fantasy, "Fantasy", p 338 ISBN 0-312-19869-8
^ Jane Langton, "The Weak Place in the Cloth" p163-180, Fantasists on Fantasy, ed. Robert H. Boyer and Kenneth J. Zahorski, ISBN 0-380-86553-X
^ Diana Waggoner, The Hills of Faraway: A Guide to Fantasy, p 10, 0-689-10846-X
^ Brian Attebery, The Fantasy Tradition in American Literature, p 14, ISBN 0-253-35665-2
^ C.S. Lewis, "On Juvenile Tastes", p 41, Of Other Worlds: Essays and Stories, ISBN 0-15-667897-7
^ Brian Attebery, The Fantasy Tradition in American Literature, p 62, ISBN 0-253-35665-2
^ L. Sprague de Camp, Literary Swordsmen and Sorcerers: The Makers of Heroic Fantasy, p 135 ISBN 0-87054-076-9
^ Jane Yolen, "Introduction" p vii-viii After the King: Stories in Honor of J.R.R. Tolkien, ed, Martin H. Greenberg, ISBN 0-312-85175-8
^ Brooks, Terry (1999–2008). "Ask Terry Q&A - Writing". Retrieved 2008-09-14.{{cite web}}: CS1 maint: date format (link)

External links

The SF Page at Project Gutenberg of Australia

Template:Fantasy all

[1] Jane Tolmie, "Medievalism and the Fantasy Heroine", Journal of Gender Studies, Vol. 15, No. 2 (July 2006), pp. 145–158. ISSN 0958-9236

[2] John Grant and John Clute, The Encyclopedia of Fantasy, "Fantasy", p 338 ISBN 0-312-19869-8

[3] Jane Langton, "The Weak Place in the Cloth" p163-180, Fantasists on Fantasy, ed. Robert H. Boyer and Kenneth J. Zahorski, ISBN 0-380-86553-X

[4] Diana Waggoner, The Hills of Faraway: A Guide to Fantasy, p 10, 0-689-10846-X

[5] Brian Attebery, The Fantasy Tradition in American Literature, p 14, ISBN 0-253-35665-2

[6] C.S. Lewis, "On Juvenile Tastes", p 41, Of Other Worlds: Essays and Stories, ISBN 0-15-667897-7

[7] Brian Attebery, The Fantasy Tradition in American Literature, p 62, ISBN 0-253-35665-2

[8] L. Sprague de Camp, Literary Swordsmen and Sorcerers: The Makers of Heroic Fantasy, p 135 ISBN 0-87054-076-9

[Yolen-9] Jane Yolen, "Introduction" p vii-viii After the King: Stories in Honor of J.R.R. Tolkien, ed, Martin H. Greenberg, ISBN 0-312-85175-8

[10] Brooks, Terry (1999–2008). "Ask Terry Q&A - Writing". Retrieved 2008-09-14.{{cite web}}: CS1 maint: date format (link)

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v t e Narrative
Character	Antagonist Archenemy Character arc Character flaw Characterization Confidant Deuteragonist False protagonist Focal character Foil Gothic double Hamartia Hero Anti Byronic Tragic Narrator Protagonist Stock character Straight man Supporting character Title character Tritagonist Villain
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Structure	Act Act structure Three-act structure Freytag's Pyramid Exposition/Protasis Rising action/Epitasis Climax/Peripeteia Falling action/Catastasis Denouement/Catastrophe Linear narrative Nonlinear narrative films television series Premise Types of fiction with multiple endings
Form	Drama Fabliau Flash fiction Folklore Fable Fairy tale Legend Myth Tall tale Gamebook Narrative art Narrative poetry Epic poetry Novel Novella Parable Short story Vignette
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Narration	Diegesis First-person Second-person Third-person Third-person omniscient narrative Subjectivity Unreliable narrator Multiple narrators Stream of consciousness Stream of unconsciousness
Tense	Past Present Future
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