Relevant bibliographies by topics / English Fantasy fiction

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'English Fantasy fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "English Fantasy fiction"

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Lehtonen, Sanna. "Touring the magical North – Borealism and the indigenous Sámi in contemporary English-language children’s fantasy literature." European Journal of Cultural Studies 22, no. 3 (2017): 327–44. http://dx.doi.org/10.1177/1367549417722091.

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Discourses of exotic Lapland with its indigenous inhabitants, the Sámi, are widely circulated in the tourist industry and also surface in contemporary English-language children’s fantasy fiction. In contrast to the ‘self-orientalism’ of discourses of tourism, where places and people are represented as exotic to a tourist gaze, the portrayals of the North and its inhabitants gain different symbolic meanings in fictional texts produced by outsiders who rely on earlier texts – myths, fairy tales and anthropological accounts – rather than on their own lived experience of the North or indigeneity. This article applies the concept of Borealism to examine cross-cultural intertextuality and discourses of the Sámi/Lappishness in English-language children’s fantasy by four contemporary authors. The Sámi and their folklore become recontextualised in fictional texts through a Borealist gaze that associates the indigenous characters with feminist and ecocritical discourses and frames indigenous ethnicity in stereotypical ways.
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Fomin, Andrei G., and Vladislav I. Chobotar. "Anthroponyms in Fantasy Fiction and Computer Games: Approaches to Translation." Bulletin of Kemerovo State University 21, no. 2 (2019): 558–64. http://dx.doi.org/10.21603/2078-8975-2019-21-2-558-564.

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The following article examines the ways of translation of anthroponyms from English to Russian in fantasy fiction and computer games. The purpose of the study is to analyze and compare the anthroponyms translation variants in the literary text. In the following article works of Russian and foreign scientists in the context of anthroponimics were used, the usage of classification models was taken up, comparative analysis and functional analysis were used. The following study can be used in textbooks, in the process of translation and localization of fantasy fiction and computer games. The research material involves translations of anthroponyms of fantasy literature cycles (Harry Potter, The Song of Ice and Fire, The Lord of the Rings) and fantasy role-playing computer game "World of Warcraft". Particular patterns of anthroponyms translation were shown in terms of early and modern translations.
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Karavanova, Ekaterina K., Lyudmila S. Toropova, and Yulia S. Maximova. "CREATING A TERTIARY WORLDVIEW OF FANTASY FICTION BOOKS THROUGH TRANSLATING INTO ENGLISH (BASED ON NOVELS ABOUT TANYA GROTTER BY D. EMETS)." HUMANITIES AND SOCIAL STUDIES IN THE FAR EAST 20, no. 1 (2023): 108–15. http://dx.doi.org/10.31079/1992-2868-2023-20-1-108-115.

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The paper addresses the question of creating a tertiary worldview through translation into English. The analysis presented is based on fantasy fiction books by D. Emets about Tanya Grotter. The authors focus on analysing linguacultural peculiarities of such a process in which the tertiary worldview is formed by means of translating names of people and places (anthroponyms) in the books under analysis. They are regarded as cultural markers of the specific language environment created by the translator in English as a target language compared with the original units in Russian. Such analysis can highlight interactionality as an integral part of culture, translation as a process and readers’ apprehension of the fiction text. The authors of this paper suggest an idea that the worldview mediation in such texts is constructed through employing concepts of another fantasy fictional world of Harry Potter by J.K. Rowling, awareness of which is required at the background of readers’ perception – one has to know about the Potterian world. The units translated from Russian into English, selected for analysis lexical, are regarded as language elements loaded with deep mythological, folklore, historical Russian-speaking bedrocks and rooted in names as linguacultural patterns. The results achieved provide food for thought and further research.
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Shumaila Fatma. "Treatment of History in Select Contemporary Indian English Novels." Creative Launcher 5, no. 4 (2020): 60–64. http://dx.doi.org/10.53032/tcl.2020.5.4.11.

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History and fiction share one trait in common and that is recording of events past, incidence, personalities, movements, etc. the difference between history and fiction is that history takes an objective view of the events whereas fiction takes a creative sweep. Both chronicle formation, development and evolution of nations in their own way. History fiction interface therefore becomes a virgin track to till for the Indian English novelist. Shashi Tharoor in The Great Indian Novel (1989), Geeta Mahta in Raj (1988) and Kiran Nagarkar in Cuckold (1997) explore this interface in their unique ways. Tharoor tries to atone himself with his present retrospectively with the help of history. Geeta Mehta tries to coalate east –west encounter along with cultural issues, historical facts and fantasy, realism and socio-political features at the time of independence. Kiran Nagarkar tries to achieve a transformation in the history or the lack of it.
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Paranyuk, Dan, and Alyona Tychinina. "Intertextuality of the Personosphere as a Factor of Meta-Genre (Clifford Simak “Shakespeare’s Planet”)." Pitannâ lìteraturoznavstva, no. 107 (June 30, 2023): 216–37. http://dx.doi.org/10.31861/pytlit2023.107.216.

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The article under studies deals with the issue of regeneration of genre forms of science fiction literature through its evolution. In the context of topical issues of poetics, it outlines the genrological status of science fiction and fantasy in terms of genre modifications – genre, genre variety, sub-genre, mega-genre, and meta-genre. Particular emphasis has been placed on the fact that the evolution of science fiction into a meta-genre format is due to a number of factors, such as the simulative nature of the chronotope of possible and parallel worlds, the change in the anthropological vector of texts, and the involvement of samples of other art forms (intermedial components). In addition, the activation of intertextual narratives in the personosphere (which becomes an important parameter of the meta-genre) has been identified as a marker of the genre evolution of fantasy. The creative activity of the American classic of science fiction prose Clifford Simak (1904–1988) may be regarded as a typical example of how science fiction writers appeal to “other authors’ texts”. This research relies on the analysis of his novel “Shakespeare’s Planet” (1976), in which the reader’s attention is mainly focused on the intertextual parameters of the personosphere, which significantly expands the hyper-real chronotope of the science fiction world. The works by William Shakespeare are identified as the prototexts for fantasy texts. Interpreted by Simak, the Shakespearean imagological narratives are implemented through quotations, reminiscences, anthropological allusions (the use of Shakespeare’s characters’ names), as well as through the introduction of the figure of Shakespeare himself into the fantasy personosphere. What is more, the figure of the English classic occasionally appears as the very center of the personosphere, its confocal axis. It has been determined in the article that the mystified and ironic story of Shakespeare’s timeless existence ferments the internal content of the fantasy text. Besides, the personosphere of a fantasy novel with several fictional narratives also includes the classic’s texts, such as “Hamlet”, “Twelfth Night”, “The End Praises the End”, “The Comedy of Errors”, “King Lear”, “Macbeth”, “Othello”, “Pericles”, “The Taming of the Shrew”, “Richard III”, and “Titus Andronicus”. In this case, in Simak’s “Shakespeare’s Planet”, they perform the function of additional (implicit) narratives, and, consequently, as a particular (intertextual) link in the personosphere. In conclusion, the article claims that the consistent generation of new literary genre formats in the field of the cultural continuum is an immanent feature of the complex literary process, which can be fully realized only with the help of the reader’s rich receptive background.
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Wieczorkiewicz, Aleksandra. "Inspiration from Translation: The Golden Age of English-Language Children’s Literature and Its Impact on Polish Juvenile Fiction." Tekstualia 2, no. 65 (2021): 69–88. http://dx.doi.org/10.5604/01.3001.0015.2751.

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The article presents a cross-sectional view of the impact of the translations of English-language juvenile literature of the Golden Age on Polish literary production for young readers. This panorama of infl uences and reception modes is presented in three comparative close-ups, dealing with characters and recipients (English ‘girls’ novels’ and their Polish equivalents), literary convention (adventure novels), and fairytale quality, imagination, and fantasy (Polish literary works inspired by English classic fantasy books). The study shows that Golden Age children’s literature transferred into Polish by means of translation brought new trends, motifs, genres and themes to Polish juvenile literature, signifi cantly contributing to its development.
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Varughese, E. Dawson. "Post-millennial “Indian Fantasy” fiction in English and the question of mythology: Writing beyond the “usual suspects”." Journal of Commonwealth Literature 54, no. 3 (2017): 460–74. http://dx.doi.org/10.1177/0021989417738282.

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Focusing on two novels published in 2016, one by HarperCollins India and the other by Hachette India, this paper argues that Savage Blue by Balagopal and Dark Things by Venkatraghavan carve out a new space in post-millennial Indian speculative fiction in English, namely one that does not privilege ‘Hindu Indian mythology’ tropes. Such tropes have been espoused by a growing number of authors whose novels are anchored in Hindu Indian mythology and narratives of itihasa since the early 2000s. Banker, Tripathi, and Sanghi are generally recognized as the authors who first published in this post-millennial genre of Indian fiction in English. This discussion of the novels by Balagopal and Venkatraghavan, alongside ideas of how ‘fantasy’ as a genre has been, and continues to be defined, raises questions about how we might think about ‘Indian fantasy’ as a genre term within the domestic Indian book market and how it intersects with post-millennial Indian living, Indianness, and the popular imaginary.
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Zaripova, Sokhiba. "INTERPRETATION OF ST TION OF STYLISTIC DEVICES AND ME YLISTIC DEVICES AND METHODS IN THODS IN ''THE HOBBIT''." Scientific Reports of Bukhara State University 5, no. 2 (2021): 178–86. http://dx.doi.org/10.52297/2181-1466/2021/5/2/16.

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Background. The origin, popularity and importance of high fiction in English literature are directly linked to Tolkien's work. Tolkien’s novels were the reasons for the critical rise of English fiction to some extent. His “Hobbit” achieved great success at that time and it was the most popular work among readers. When L. Baum created examples of the fantasy genre, detailed historical events, settings and landscapes were considered as the part of the such genre. On the contrary, Tolkien, refined and elevated these concepts. Tolkien set out to associate the roots of his ideas, which embodied location and time, in the field of fiction. Methods. In this article there have been drawn some views related to the analysis of stylistic devices in the novel of “Hobbit”.
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Bekhta, I., and O. Marchuk. "STRUCTURAL -TYPOLOGICAL PARAMETERIZATION OF FICTION TEXT SPACE OF THE ENGLISH FANTASY." International Humanitarian University Herald. Philology 1, no. 47 (2021): 17–20. http://dx.doi.org/10.32841/2409-1154.2021.47-1.4.

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Slocombe, W. "Gary Westfahl, ed., The Greenwood Encyclopedia of Science Fiction and Fantasy: Themes, Works, and Wonders." English 55, no. 213 (2006): 341–44. http://dx.doi.org/10.1093/english/55.213.341.

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Dissertations / Theses on the topic "English Fantasy fiction"

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Westlake, David Michael. "Fantasy and Imagination: Discovering the Threshold of Meaning." Fogler Library, University of Maine, 2005. http://www.library.umaine.edu/theses/pdf/WestlakeDM2005.pdf.

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Gevers, Nicholas David. "Mirrors of the past : versions of history in science fiction and fantasy." Doctoral thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/10511.

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The primary argument of this Thesis is that Science Fiction (SF) is a form of Historical Fiction, one which speculatively appropriates elements of the past in fulfilment of the ideological expectations of its genre readership. Chapter One presents this definition, reconciling it with some earlier definitions of SF and justifying it by means of a comparison between SF and the Historical Novel. Chapter One also identifies SF's three modes of historical appropriation (historical extension, imitation and modification) and the forms of fictive History these construct, including Future History and Alternate History; theories of history, and SF's own ideological changes over time, have helped shape the genre's varied borrowings from the past. Some works of Historical Fantasy share the characteristics of SF set out in Chapter One. The remaining Chapters analyse the textual products of SF's imitation and modification of history, i.e. Future and Alternate Histories. Chapter Two discusses various Future Histories completed or at least commenced before 1960, demonstrating their consistent optimism, their celebration of Science and of heroic individualism, and their tendency to resolve the cyclical pattern of history through an ideal linear simplification or 'theodicy'. Chapter Three shows the much greater ideological and technical diversity of Future Histories after 1960, their division into competing traditional (Libertarian), Posthistoric (pessimistic), and critical utopian categories, an indication of SF's increasing complexity and fragmentation.
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Hurst, Edmund. "Dawnsmoke and the influence of character tropes on the construction of fantasy fiction." Thesis, University of Hull, 2017. http://hydra.hull.ac.uk/resources/hull:16540.

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This thesis is formed of a fantasy novel, Dawnsmoke, and an exegesis that will examine the role played by character tropes on the creation of the three principal protagonists in Dawnsmoke. Dawnsmoke interweaves three narrative strands from a diverse set of principal protagonists. Luke, Samantha and Kain combine narratives in order to tell the story of Arx, a city where fire burns blue and memories can be trapped in metal. Told through three distinct third-person-limited voices, this novel explores the concept of self-induced memory loss, isolation and the price of heroism. The exegesis considers the definitions of fantasy offered by C. N. Manlove, W. R. Irwin, T. E. Apter, Tzvetan Todorov and Rosemary Jackson and contrasts these definitions with modern considerations from Neil Gaiman, George R. R. Martin, Ursula LeGuin and Kazuo Ishiguro. It posits a definition of fantasy literature that encompasses the traditions that Dawnsmoke shares. It analyses the impact of specific sub-genres on the character norms in Dawnsmoke. It examines the inception of Luke, Samantha and Kain in relation to common character tropes and how the subversion of these thematic expectations impacts the narrative arc of each character. It observes the techniques used in crafting unique voices for each character. It concludes with an examination of the resolution of each protagonist’s journey.
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McSporran, Cathy. "Letting the winter in : myth revision and the winter solstice in fantasy fiction." Thesis, University of Glasgow, 2007. http://theses.gla.ac.uk/5812/.

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This is a Creative Writing thesis, which incorporates both critical writing and my own novel, Cold City. The thesis explores ‘myth-revision’ in selected works of Fantasy fiction. Myth-revision is defined as the retelling of traditional legends, folk-tales and other familiar stories in such as way as to change the story’s implied ideology. (For example, Angela Carter’s ‘The Company of Wolves’ revises ‘Red Riding Hood’ into a feminist tale of female sexuality and empowerment.) Myth-revision, the thesis argues, has become a significant trend in Fantasy fiction in the last three decades, and is notable in the works of Terry Pratchett, Neil Gaiman and Philip Pullman. Despite its incorporation of supernatural elements, myth-revision is an agnostic or even atheistic phenomenon, which takes power from deities and gives it to moral humans instead. As such it represents a rebellion against the ‘Founding Fathers’ of Fantasy, writers such as Tolkien or CS Lewis, whose works stress the rightful superiority of divine figures. The thesis pays particular attention to how the myths surrounding the Winter Solstice are revised in this kind of fiction. Part One consists of my novel Cold City, with appropriate annotations. In Part Two, Chapter One compares and contrasts Philip Pullman’s His Dark Materials with CS Lewis’s The Chronicles of Narnia. It argues that Pullman’s sequence of children’s novels is an anti-Narnia, which revises CS Lewis’s conservative Christian allegory into one supporting Pullman’s secular humanist viewpoint. Chapter Two explores myth-revision in Elizabeth Hand’s novel of adult Fantasy Winterlong. It examines how Hand ‘revises’ the Hellenic myth of the god Dionysos, especially as it is related to Euripides’ tragedy The Bacchae. Chapter Three examines the use of ‘Ragnarok’ – the ancient Norse myth of the end of the world – in Cold City.
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Varnado, Ethan C. "A Wonder Book." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4965.

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This thesis is a collection of nine short stories about real people dealing with unreal problems. In one story, a small-town man answers a knock at his door, only to find three wisemen, who have followed a star and proclaimed him as their new messiah. In another, a reporter travels across the snowy length of Canada looking to interview people who have witnessed the Virgin Mary materialize above Toronto. Deranged Egyptologists, vampires with diseased blood, wacky witches, and unhappy mediums all inhabit tales whose landscapes span the distance between Chattanooga, Tennessee and the afterlife.
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Leroux, Julie. ""Shocking his readers out of their complacence": gothic and fantasy tropes in H.G. Wells' «fin-de siècle» science fiction novels." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97160.

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The main goal of this thesis is to identify Gothic and fantasy tropes in four fin-de-siècle novels by H.G. Wells – The War of the Worlds, The Invisible Man, The First Men in the Moon and The Food of the Gods – and to examine their rhetorical effects within the framework of science fiction. More precisely, my project was inspired by Kelly Hurley's analysis of the thematic similarities shared by the science fiction and Gothic genres during the fin-de-siècle, and by Darko Suvin's definitions of science fiction and of the Gothic as being rhetorically antithetical. Through an analysis of how the two thematically compatible but rhetorically antithetical genres interact in the novels, I evaluate the potential responses that could be expected from readers, and compare these responses to the contemporary reception of the work. My research is based on the idea that Wells' novels promote a social message based on Darwinian theory and socialism, and that he uses the combination of SF and the Gothic in order to lead his complacent readers to intellectual conclusions by first drawing their attention through shock and terror. This study will seek to determine whether the author's use of the Gothic ultimately benefits the works by enhancing their social message, or if it results in the contrary effect.<br>Ce mémoire vise à identifier les tropes gothiques et fantaisistes dans quatre romans de la fin-de-siècle par H.G. Wells – The War of the Worlds, The Invisible Man, The First Men in the Moon et The Food of the Gods – et d'examiner leur effet dans ces romans de science fiction au niveau rhétorique. Plus précisément, ce projet fut inspiré par l'analyse qu'a faite Kelly Hurley des ressemblances thématiques entre la science fiction et le gothique au tournant du vingtième siècle, et par l'argument de Darko Suvin selon lequel la science fiction et le gothique seraient antithétiques au niveau rhétorique. À travers une analyse de l'interaction entre ces deux genres compatibles au niveau thématique, mais théoriquement incompatibles au niveau rhétorique, j'évalue les réponses potentielles que l'on peut attendre des lecteurs de ces romans, et je compare ces réponses théoriquement possibles aux la réception contemporaine réelle de ces œuvres. Ma recherche repose sur l'idée que Wells tentait de promouvoir dans ses romans une réflexion sociale basée sur les théories darwiniennes et sur le socialisme, et qu'il utilisait la combinaison de la science fiction et du gothique afin de mener ses lecteurs vers des conclusions intellectuelles par le biais d'un éveil brusque causé par le choc et la terreur. Cette étude tente de déterminer si l'utilisation du gothique faite par l'auteur mène vraiment ses lecteurs à porter davantage attention aux thèmes contenus dans les romans, ou si, au contraire, ces tropes ne font qu'engendrer une réponse émotive chez le lecteur.
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Duttler, Sabine-Michaela. "Die filmische Umsetzung der Harry-Potter-Romane /." Hamburg : Dr Kovač, 2007. http://www.verlagdrkovac.de/978-3-8300-3314-1.htm.

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Hanson, Scot A. "Ruling Powers." BYU ScholarsArchive, 2003. https://scholarsarchive.byu.edu/etd/6102.

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While the fantasy genre is one of the most widely read modes of writing, literary criticism and academic discussion of the genre takes place at a much lower level. This imbalance has developed in part because of a misconception that fantasy genre writings cannot accomplish significant, literary purposes. This thesis first offers an argument for why the fantasy genre should receive more attention in scholarly circles, then presents an excerpt of a fantasy novel. The argument draws from the limited amount of existing criticism to highlight the strengths of the fantasy genre, building a case that, in most respects, works of heroic fantasy deserve thoughtful critical attention, and concluding with a proposal that further attention will elevate the acknowledged weaknesses. The excerpt from the novel is not intended as an exemplary model of what fantasy can accomplish; it is merely a first step on the long journey to those goals.
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Harris, Jason Marc. "Folklore, fantasy, and fiction : the function of supernatural folklore in nineteenth and early twentieth-century British prose narratives of the literary fantastic /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/9456.

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Chapin, Elizabeth. "What Fantasy Can Do for Her: A Critical and Creative Exploration of Secondary and Fractured Worlds." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/cmc_theses/1199.

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In making a distinction between secondary and fractured worlds, we can begin to determine the possibilities that fantasy literature, as a wider subject, holds for female characters and for feminine themes. These two areas of fantasy represent very different possibilities for women and the feminine, as a result of their approaches towards the presentation of ideology and authority. These approaches find their root most clearly in the creation of a story’s place and time, a fact I will explore through the lens of Mikhail Bakhtin’s notion of the “chronotope.” For, though both high fantasy and the fantastic question the real, representing, as Rosemary Jackson writes, a “dissatisfaction with what ‘is,’” they undermine the structure of that reality to very different degrees, with one mode seeking out a stabilizing transcendence, while the other revels in an ambiguous immanence. The creative response to this critical exploration will both imaginatively reflect on and practically test the initial questions posed and arguments made, in an effort to more personally understand how each tradition does or does not make room for women and the feminine.
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Books on the topic "English Fantasy fiction"

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Erikson, Andrew, ed. Science Fiction & Fantasy Short Stories. Arcturus Publishing, 2018.

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Cresswell, Jasmine. Midnight fantasy. Mills & Boon, 1996.

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Leslie, Stratyner, and Keller James R. 1960-, eds. Fantasy fiction into film: Essays. McFarland & Co, 2007.

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Peter, Haining, ed. Welsh fantasy stories. Gwasg Carreg Gwalch, 2000.

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Grant, John. Take no prisoners: Short fiction. Willowgate Press, 2004.

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Platt, Charles. Dream makers: Science fiction and fantasy writers at work. Ungar, 1987.

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Strahan, Jonathan. Eclipse four: New science fiction and fantasy. Night Shade Books, 2011.

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Filmer-Davies, Kath. Fantasy fiction and Welsh myth: Tales of belonging. St. Martin's Press, 1996.

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Barkow, Henriette. French & English. Mantra, 2002.

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Blackwood, Algernon. Jimbo: A fantasy. Macmillan, 1988.

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Book chapters on the topic "English Fantasy fiction"

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Ginway, M. Elizabeth. "Teaching Latin American Science Fiction and Fantasy in English: A Case Study." In Teaching Science Fiction. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230300392_12.

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Valančiūnas, Deimantas. "Re-imagining Hindu Mythology in the Twenty-First Century: Amish Tripathi and Indian Fantasy Fiction in English." In The Palgrave Handbook of Global Fantasy. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-26397-2_13.

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Šoštarić, Sanja. "The Reappropriation of Fantasy in 21st-Century American Fiction: Michael Chabon’s The Yiddish Policemen’s Union." In Belgrade English Language and Literature Studies: BELLS90 Proceedings. Volume 2. Faculty of Philology, University of Belgrade, 2020. http://dx.doi.org/10.18485/bells90.2020.2.ch20.

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James, Edward, and Farah Mendlesohn. "Unending romance: science fiction and fantasy in the twentieth century." In The Cambridge History of the English Novel. Cambridge University Press, 2012. http://dx.doi.org/10.1017/chol9780521194952.056.

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Booker, M. Keith. "The other side of history: Fantasy, romance, horror, and science fiction." In The Cambridge Companion to the Twentieth-Century English Novel. Cambridge University Press, 2009. http://dx.doi.org/10.1017/ccol9780521884167.018.

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Jossa, Stefano. "Entertainment and Irony: The Orlando Furioso from Modern to Postmodern." In Ariosto, the Orlando Furioso and English Culture. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266502.003.0015.

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Less popular than in the eighteenth and nineteenth centuries, in the twentieth and twenty-first centuries Ariosto’s Orlando Furioso has however made an impact on Anglo-American fiction. Loved by Samuel Beckett, who called risolino ariostesco (Ariosto’s smile) the poetic strategy of his preferred artists, and C. S. Lewis, who famously claimed that his utmost happiness would be to be always sitting by a window overlooking the sea, reading Ariosto’s masterpiece, Orlando Furioso proves more and more influential in contemporary fiction when it comes to epic modes, narrative techniques, fantasy and sci-fi: taken as a source of inspiration by both well-educated and popular writers and filmmakers, such as, among many others, David Lodge in Small World, Chelsea Quinn Yarbro in Ariosto and Jim Jarmusch in Mystery Train, Orlando Furioso proves in tune with two keywords of our contemporary age, irony and entertainment. This essay will explore his legacy in twentieth-century Anglo-American fiction in order to assess its potential in our times.
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Jaising, Shakti. "The Maturing Entrepreneur of Popular Indian Fiction." In Beyond Alterity: Contemporary Indian Fiction and the Neoliberal Script. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781837645121.003.0004.

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Chapter 3 begins the book’s examination of the interactions between literature and the neoliberal script. It analyses bestselling author Chetan Bhagat’s The 3 Mistakes of My Life (2003) alongside lesser-known writer Parinda Joshi’s Made in China (2019)—both examples of a popular subgenre of the Indian English novel that, since the 2000s, has attracted a significant domestic audience, been frequently adapted to Hindi cinema, and contributed to a publishing boom within India. Underlying Bhagat’s and Joshi’s narratives is a common arc that traces the professional and ethical maturation of a small-town businessman from Gujarat (a potent site of capitalist mythology in India). Together with their filmic adaptations [Kai Po Che (Dir. Abhishek Kapoor, 2013) and Made in China (Dir. Mikhil Musale, 2019)], these bildungsromane illustrate vividly how the neoliberal script and its fantasy of a mature as well as socially just capitalism has travelled across the Indian public sphere and impressed upon the consciousness of large sections of the middle class.
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Borowska-Szerszun, Sylwia. "Remembering the Romance: Medievalist Romance in Fantasy Fiction by Guy Gavriel Kay and Charles de Lint." In Medievalism in English Canadian Literature. Boydell and Brewer Limited, 2020. http://dx.doi.org/10.1017/9781787448858.011.

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Borowska-Szerszun, Sylwia. "10 Remembering the Romance: Medievalist Romance in Fantasy Fiction by Guy Gavriel Kay and Charles de Lint." In Medievalism in English Canadian Literature. Boydell and Brewer, 2020. http://dx.doi.org/10.1515/9781787448858-011.

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10

King, Emily L. "Fantasizing about Revenge." In Civil Vengeance. Cornell University Press, 2019. http://dx.doi.org/10.7591/cornell/9781501739651.003.0004.

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Abstract:
Chapter three examines the relation between fantasy and civil vengeance through the figure of the vagrant. Insofar as vagrants are presumed responsible for major social problems, civil society justifies its poor treatment as retribution. Reading Jack Cade’s rebellion in Shakespeare’s 2 Henry VI, the chapter proposes that normative society’s fantasy of its own victimhood produces vagrant bodies that are constructed to withstand extreme forms of labor and punishment, and the resulting bodies then sustain an expanding nation-state. Thomas Nashe’s The Unfortunate Traveller, or the Life of Jack Wilton reveals the dynamic at work on the international stage in its attempts to define early modern Englishness against not only the Continent but also cosmopolitanism. While the impoverished vagrant offers social cohesion to normative subjects within the domestic project of nationalism, the affluent cosmopolitan vagrant and his eventual recoil from other cultures offers the fiction of a secure English identity.
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