Academic literature on the topic 'Fantasy literature'

The article scrutinizes the distinctions between myth, fairytale, and fantasy within the studyof the fantasy genre, an increasingly significant aspect of contemporary world and Kazakh literature. Fourpredominant perspectives on fantasy in modern literary studies are discussed. One viewpoint negates fantasy’sindependent literary status, deeming it a subset of fiction, supported by its widespread presence in modernliterature, films, and popular culture. Another perspective equates fantasy with fairytales, illustrated byJ.R.R. Tolkien’s initial classification of his works as “fairytales” before the term “fantasy” gained scholarlyrecognition. Some researchers argue that fantasy’s roots lie in mythology, specifically a “neomyth” born fromauthors’ mythological thinking and ancient myths. This viewpoint is deemed by the author to reveal the genesisand literary essence of fantasy most comprehensively. Lastly, a less supported view ties fantasy’s emergence tothe evolution of “horror” literature, inspired by 90s computer games, notably championed by the Polish futuristS.S. Lem. However, this perspective lacks substantial backing. The author of the article managed to give hisown, author’s definition of fantasy by analyzing the opinions of supporters of these four views on the fantasygenre. The scientific article discusses the problems of interrelation and differences between fantasy works frommythology, fairy tales and science fiction. The analysis of definitions and interpretations of literary scholars onthis issue is carried out. The author’s definition of the fantasy genre based on a comparative analysis of variousliterary genres is proposed. A comparative table of interrelationships and features of mythology, folklore andliterary fairy tales, science fiction, as well as the fantasy genre has been formed. It is concluded that fantasy isa syncretic, dynamic meta-genre that unites literature, philosophy, cultural studies, pedagogy, psychology, thefilm industry, animated films, computer games, entertainment and other areas.

Abstract In this research, we chose the series of Beatrix Potter in English languages. Then the obtained data studied in three parts of the style of writing, the semiotics of fantasy characters, and in terms of social concepts such as power, gender, and collaboration. This research is descriptive research based on the library method. Fantasy is a ction about a topic in the past or an event in the future that is now untrue, but relying on individual knowledge and imagination. Fantasy literature, as it stands today, was created in Europe in the eighteenth century, although its elements exist in myths and ancient myths. Beatrix Potter (1866-1943) grew up in London is the most acclaimed Baby Writer. She was an English writer, illustrator, natural scientist, and conservationist best known for her children’s books featuring animals. She is well-known as the author of children’s books such as The Tale of Peter Rabbit. She wrote 23 books altogether, the most famous of which was “the Tale of Peter Rabbit “, which translated into 35 languages and printed 151 million copies in the world. Keywords: characterization, fantasy literature, story, Beatrix Potter, phantom fantasy, realistic fantasy, writing style Abstrak Dalam penelitian ini, dipilih seri Beatrix Potter dalam bahasa Inggris. Kemudian data yang diperoleh dianalisis dalam tiga bagian: gaya penulisan, semiotika karakter fantasi, dan ditinjau dari konsep sosial, seperti kekuasaan, jenis kelamin, dan kolaborasi. Penelitian ini merupakan penelitian deskriptif berdasarkan metode kepustakaan. Fantasi adalah ksi tentang suatu topik di masa lalu atau peristiwa di masa depan yang sekarang tidak benar, tetapi mengandalkan pengetahuan dan imajinasi individu. Sastra fantasi, seperti yang ada saat ini, diciptakan di Eropa pada abad kedelapan belas, meskipun unsur-unsurnya ada dalam mitos dan mitos kuno. Beatrix Potter (1866-1943) besar di London adalah Penulis Bayi, ilustrator, ilmuwan alam, dan konservasionis yang terkenal karena buku anak-anaknya yang menampilkan hewan. Karyanya yang terkenal adalah buku anak-anak, seperti The Tale of Peter Rabbit. Kata kunci: penokohan, sastra fantasi, cerita, Beatrix Potter, fantasi hantu, fantasi realistik, gaya menulis

Abstract Each of the functions of fantasy described by J. R. R. Tolkien in his essay “On Fairy-Stories” can be reframed through affordance theory into a kind of re-visioning. Such re-visioning is comparable to the formalist notion of defamiliarization or the science fiction technique that Darko Suvin called “cognitive estrangement.” Whereas science fiction projects alternative futures, fantasy's affordances allow writers to generate alternative worldviews grounded in real or invented mythic pasts. The initial move away from claiming to imitate reality allows fantasy writers to project inner experience onto an outer storyworld (there is no pathetic fallacy in fantasy), to depict multiple contradictory selves (housed within a single body or spread out over several characters), and to invite readers to consider alternatives to commonsense assumptions and seemingly inevitable social orders.

Esta pesquisa discute os postulados acerca da literatura de fantasia propostos pelos teóricos J. R. R. Tolkien, Brian Attebery e Farah Mendlesohn. Aborda-se o ensaio “Sobre Histórias de Fadas”, de Tolkien, e as obras Strategies of Fantasy, de Attebery, e Rhetorics of Fantasy, de Mendlesohn. Partindo da discussão dos elementos centrais destas produções, propõe-se que as mudanças na forma com a qual a fantasia como gênero literário se apresenta, em diferentes momentos histórico-geográficos, estão relacionadas com as demandas sociais do contexto das obras. Argumenta-se que novas teorias tendem a surgir para acompanhar tais mudanças e oferecer ferramentas teórico-críticas que abranjam o gênero em suas variadas vertentes e que possibilitem abordagens mais plurais da fantasia. O estudo inicia com uma discussão acerca de como o ensaio de Tolkien e seu romance O Senhor dos Aneis, tiveram um papel central na popularização da fantasia e no estabelecimento de um modelo para o gênero. Então, discute-se a teoria de Attebery, que propõe que o gênero fantasia pode ser visto como um conjunto difuso. Conclui-se com uma análise da teoria de Mendlesohn, que propõe que diferentes textos de fantasia podem ser estudados a partir do modo com o qual o fantástico surge na narrativa.