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Journal articles on the topic 'Fiction - Fantasy'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Ajdačić, D. "IRONY AND FANTASY." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 36 (2020): 116–26. http://dx.doi.org/10.17721/2075-437x.2020.36.11.

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The absence of a typology of irony in the theory of fiction stems from the fact that irony and fiction differently form and transform reality – fiction is a kind of fictional depiction of amazing worlds or phenomena. On the contrary, irony does not create worlds; in it, the subject comments on reality, adding another vision, a vision with a reassessment and deviation from what is said or presented. Irony can comment on the realities of different ontological status, that is, irony can relate to the real world and the fictional world, whether it is real or amazing. Fantasy transforms the world – it distorts, destroys or completes, or builds new worlds, and irony already adds a different vision to the ideas and views presented, regardless of whether they are real or fictional. The terminological and literary-theoretical aspects of the use of irony in works of literary fiction are discussed in the text. Dragan Stojanović’s book “Irony and Meaning” and the author’s terms “Ironical Focus” and “Meaning Pressure” are used as a theoretical starting point. After highlighting the touchpoints of irony and fiction and their special qualities and roles, is proposed a typology of the use of irony in fiction that separates ironic actions concerning the real world, the marvelous world and problematizing the relationship between the real and the marvelous world.

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2

Pierce, Erin. "Science Fiction and Fantasy." Voices from the Middle 9, no. 2 (December 1, 2001): 74–77. http://dx.doi.org/10.58680/vm20012388.

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Offers brief annotations of 40 science fiction and fantasy books that middle school readers might enjoy. Notes that readers can confront the realities of this real world as the fictional characters fight good and evil, search for identity, summon courage, and enjoy family and friends.

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3

Demesinova, А. А., and G. K. Kazhibaeva. "THE PROBLEMS OF HARMONY AND DIFFERENCES BETWEEN FANTASY AND MYTH, FAIRY TALE, FICTION." Keruen 81, no. 4 (December 20, 2023): 161–73. http://dx.doi.org/10.53871/2078-8134.2023.4-13.

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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.

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4

Attebery, Brian. "Affordances of Fantasy." Genre 57, no. 1 (April 1, 2024): 1–23. http://dx.doi.org/10.1215/00166928-10982852.

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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.

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5

Filippo, Paul Di. "A science-fiction fantasy." Nature 465, no. 7301 (June 2010): 1110. http://dx.doi.org/10.1038/4651110a.

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6

KREITMAN, NORMAN. "FANTASY, FICTION, AND FEELINGS." Metaphilosophy 37, no. 5 (October 2006): 605–22. http://dx.doi.org/10.1111/j.1467-9973.2006.00459.x.

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7

Blumson, Ben. "Fact, Fiction, and Fantasy." Midwest Studies In Philosophy 39, no. 1 (September 2015): 46–57. http://dx.doi.org/10.1111/misp.12036.

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8

Pavlik, Anthony. "Being There: The Spatiality of ‘Other World’ Fantasy Fiction." International Research in Children's Literature 4, no. 2 (December 2011): 238–51. http://dx.doi.org/10.3366/ircl.2011.0029.

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Fantasy other worlds are often seen as alternative, wholly ‘other’ locations that operate as critiques of the ‘real’ world, or provide spaces where child protagonists can take advantage of the otherness they encounter in their own process of growth. Rather than consider fantasy fiction's presentations of ‘other’ worlds in this way, this article proposes reading them as potential thirdspaces of performance and activity that are neutral rather than confrontational such that, in fantasy other world fiction for children and young adults, the putative ‘other’ world may not, in fact, be ‘other’ at all.

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9

Kovtun, Elena. "The Sociology of Science Fiction and Fantasy: Monitoring Within Science Fiction and Fantasy Studies Classes at Lomonosov Moscow State University." Stephanos Peer reviewed multilanguage scientific journal 51, no. 1 (January 31, 2022): 95–119. http://dx.doi.org/10.24249/2309-9917-2022-51-1-95-119.

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The publication is the final part of the research dedicated to the analysis of the results of written works made by the students of inter-faculty courses of science fiction and fantasy studies undertaken at Lomonosov Moscow State University during 2013–2020. In the previous articles we provided statistical data on the students’ composition, summarized information about their favorite writers and books of science fiction and fantasy as well as about preferred types of such a literature; summarized students’ remarks about under what circumstances their interest to science fiction and fantasy has been emerged. In this publication we introduce the students’ considerations on future and also on books of science fiction and fantasy the students are planning, may be, to write themselves.

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10

Nasriddinov, Dilshod. "Fantasy genre and its scientific interpretation in theoretical views." Зарубежная лингвистика и лингводидактика 1, no. 2 (March 6, 2023): 56–62. http://dx.doi.org/10.47689/2181-3701-vol1-iss2-pp56-62.

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The aim of this study is to provide an academic analysis of the fantasy genre emerging in literature as a new literary term. Each country introduces new terms and literary genres into its own literature, recognizes its essence, and then tries to reconcile it with its own culture. Fantasy as a literary genre cannot be compared with its status in world literature today. This study identifies fantasy as the most important fictional genre in literature and analyzes its importance with several scientific approaches. It also examines the characteristics of the ongoing fiction and fantasy genres. Then, determine their relationship based on scientific evidence.

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11

Alves, Pedro M. S. "Phenomenology of Phantasy and Fiction: Some Remarks Towards a Unified Account." Phainomenon 29, no. 1 (December 1, 2019): 39–55. http://dx.doi.org/10.2478/phainomenon-2019-0003.

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Abstract I offer an outline of an integrated phenomenological analysis of free fantasy and of fictional worlds. My main concern amounts to stress the scissions entailed in free fantasy and in the consciousness of fictional objects: a scission of the I, and a scission of the experience. Firstly, I offer a somewhat new characterization of the presence of the objects of free fantasy, which disconnects any possible relationship of those objects with a real perception as the leading form of an originally giving consciousness. My leading example is daydream. Secondly, I take the Husserlian analysis of neutralization as a conceptual tool to explain the consciousness of fictional worlds, against a new tendency for interpreting these worlds in light of the concept of “possible world”. The two approaches converge to a twofold characterization of the mode of being of fictions and of the modality of presence of the objects of fantasy.

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12

Kroon, Frederick, and Paul Oppenheimer. "Why Realisms about Fiction Must (and Can) Accommodate Fictional Properties." Philosophies 8, no. 5 (September 7, 2023): 82. http://dx.doi.org/10.3390/philosophies8050082.

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The topic of fictional objects is a familiar one, the topic of fictional properties less so. But it deserves its own place in the philosophy of fiction, if only because fictional properties have such a prominent role to play in science fiction and fantasy. What, then, are fictional properties and how does their apparent unreality relate to the unreality of fictional objects? The present paper explores these questions in the light of familiar debates about the nature of fictional objects.

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13

Boaz, Cynthia. "How Speculative Fiction Can Teach about Gender and Power in International Politics: A Pedagogical Overview." International Studies Perspectives 21, no. 3 (October 10, 2019): 240–57. http://dx.doi.org/10.1093/isp/ekz020.

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Abstract Fictional universes can be treated as discrete units of analysis in which we see the operation of international relations theory. This article discusses insights gleaned from a course created at Sonoma State University called “Gender and Geopolitics in Science Fiction and Fantasy,” in which feminist theory and international relations approaches are integrated, and science fiction and fantasy texts serve as the mechanism through which to examine the key themes and questions. This article provides an overview of the pedagogy to highlight the usefulness of speculative fiction in teaching. Each of the fictional universes is treated as a separate system where gender and political dynamics manifest in ways that observers of international relations will recognize. The core texts are Battlestar Galactica, Game of Thrones, Jessica Jones, Star Trek, Misfits, and Watchmen. The major theories and approaches explored here have implications for gender studies and feminist theory, the concepts of metaphor and allegory, and game theory.

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14

Šešlak, Mirko Ž. "PHILIP K. DICK’S UBIK: A NATURAL POSSIBLE WORLD OF SCIENCE FICTION OR A SUPERNATURAL POSSIBLE WORLD OF FANTASY?" Lipar XXIV, no. 82 (2023): 107–21. http://dx.doi.org/10.46793/lipar82.107s.

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The article aims to explore whether the text of Philip K. Dick’s Ubik constructs a natural (physi- cally possible) or a supernatural (physically impossible) fictional world. According to Darko Suvin, one of the fundamental traits of science fiction is that its texts construct natural, physically possible fictional worlds. Readers of science fiction have often complained of Ubik, regarding it a confusing work, riddled with supernatural impurities and a lack of precise explanations. The betrayal of these expectations often casts doubt on whether this novel is science-fictional or a work of fantasy. If we aim to determine whether the fictional world of Ubik belongs to the possible worlds of science fiction, the theoretical framework for such a task can be found in Lubomir Doležel’s possible worlds theory. To do this, we must analyze the alethic constraints of the given fictional world, for those narrative modalities govern the formation of the fic- tional world’s physical laws and determine what is possible, impossible and necessary within its boundaries. If our analysis shows that the alethic constraints present in Ubik are analogous to the physical laws of the real world, we will prove that this fictional world is physically pos- sible and therefore possesses one of the fundamental traits of science fiction, naturalness. If our analysis shows otherwise, the fictional world of Ubik can be relegated to the supernatural, physically impossible worlds of fantasy.

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15

KOVTUN, Elena. "SLAVIC SCIENCE FICTION AND FANTASY IN INTERFACULTY COURSES AT LOMONOSOV MOSCOW STATE UNIVERSITY (2013-2020)." Ezikov Svyat volume 20 issue 3, ezs.swu.v20i3 (October 20, 2022): 422–26. http://dx.doi.org/10.37708/ezs.swu.bg.v20i3.13.

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The article shares the author’s experience of teaching interfaculty science fiction (sci-fi) and fantasy lecture courses at Lomono-sov Moscow State University, attended by students of all departments. In the period between 2013 and 2020 six such courses were taught, the number of students varying from 250 to 450 each. The courses comprised sci-fi and fantasy theory, sci-fi and fantasy status among other types of fiction narratives, the main stages of Russian and foreign sci-fi and fantasy history, the creative activity of outstanding sci-fi and fantasy writers of the 20th and 21st centuries. Apart from the Russian, West European and North American writers, works by East European (Slavic) authors were thoroughly examined. The article contains neat observations on the degree of Slavic sci-fi and fantasy writers’ popularity among young Russian readers and on the most inter-esting fiction texts for students. The data obtained through the analysis of the students’ assignments comprise their answers to the questions about their favorite sci-fi writers and books lists, on the reasons of certain fantastic worlds’ attractiveness, on their preferences in sci-fi or fantasy. The article also clarifies the principles of writers and their works selection for the lecture cours-es, it characterizes the creative activity of Slavic writers and reveals the interrelation between Slavic writers’ fiction works and the general scope of problems discussed at interfaculty sci-fi lecture courses. Taking into account the students’ interest in works by Karel Čapek, Stanislaw Lem, Andrzej Sapkowski and other Slavic authors, we suggest some ideas about the potential structure of a specialized lecture course focusing on science fiction and fantasy in Slavic countries.

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16

Gómez Pato, Rosa Marta. "Paloma Ortiz-de-Urbina (ed.), German Expressionism in the Audiovisual Culture. Myths, Fantasy, Horror, and Science Fiction / Der deutsche Expressionismus in den Audiovisuellen Medien. Mythen, Fantasy, Horror und Science-Fiction, Tübingen, Narr Francke Attempto Verlag, 2022." Matèria. Revista internacional d'Art, no. 22 (November 1, 2023): 180–83. http://dx.doi.org/10.1344/materia2023.22.9.

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Ressenya del llibre: Paloma Ortiz-de-Urbina (ed.), German Expressionism in the Audiovisual Culture. Myths, Fantasy, Horror, and Science Fiction / Der deutsche Expressionismus in den Audiovisuellen Medien. Mythen, Fantasy, Horror und Science-Fiction, Tübingen, Narr Francke Attempto Verlag, 2022.

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17

Chesterton, G. K. "Magic and Fantasy in Fiction." Chesterton Review 31, no. 3 (2005): 11–15. http://dx.doi.org/10.5840/chesterton2005313/43.

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18

Howells, Coral Ann, and David Ketterer. "Canadian Science Fiction and Fantasy." Yearbook of English Studies 25 (1995): 349. http://dx.doi.org/10.2307/3508927.

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19

Zimic, Stanislav, Michael G. Paulson, and Tamara Alvarez-Detrell. "Lepanto: Fact, Fiction and Fantasy." Hispania 70, no. 3 (September 1987): 498. http://dx.doi.org/10.2307/343406.

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20

MacRae, Cathi Dunn. "Presenting Young Adult Fantasy Fiction." English Journal 88, no. 3 (January 1999): 115. http://dx.doi.org/10.2307/821601.

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21

Petzold, Dieter. "Fantasy Fiction and Related Genres." MFS Modern Fiction Studies 32, no. 1 (1986): 11–20. http://dx.doi.org/10.1353/mfs.0.1205.

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22

Boniface, Liz, and Guy Mac Ilroy. "Soap Opera: Fiction or Fantasy?" Critical Arts 8, no. 1-2 (January 1994): 66–76. http://dx.doi.org/10.1080/02560049485310071.

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23

Fagan, Edward R. "Romantic Fantasy and Science Fiction." Bulletin of Science, Technology & Society 9, no. 2-3 (April 1989): 202. http://dx.doi.org/10.1177/027046768900900223.

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24

Magee, Reginald. "Transplantation: fantasy, fiction and fact." ANZ Journal of Surgery 74, no. 3 (March 2004): 171–74. http://dx.doi.org/10.1046/j.1445-2197.2003.02921.x.

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25

Zhuchkova, Anna V. "Fairytale Fiction or Fantasy redux." Philological Sciences. Scientific Essays of Higher Education, no. 1 (January 2018): 60–65. http://dx.doi.org/10.20339/phs.1-18.060.

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26

Wolf, Virginia. "Fantasy and Science Fiction—Again?" Children's Literature Association Quarterly 10, no. 3 (1985): 151–52. http://dx.doi.org/10.1353/chq.0.0476.

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27

Offutt, Jeff. "Editorial: Science Fiction and Fantasy." Software Testing, Verification and Reliability 18, no. 3 (September 2008): 123–24. http://dx.doi.org/10.1002/stvr.398.

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28

Araújo, Naiara, and Lívia Fernanda Diniz Gomes. "FICÇÃO ESPECULATIVA: O processo de hibridização na Ficção Científica e na Fantasia." Jangada: crítica | literatura | artes 2, no. 18 (December 30, 2021): 25–41. http://dx.doi.org/10.35921/jangada.v1i18.405.

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ABSTRACT: This study aims at promoting a debate about speculative narratives, particularly those commonly classified as Science Fiction or Fantasy, assuming that the first works of speculative literature were not intended to encompass a single generic category given their dialogue with epistemological changes and their close connection with religious and mythological discourses. By close readings and bibliographic analyses, we build on the literary scholarship of Gunn (2005), Alkon (1994), Araújo (2020), and Manlove (1975), among others. The results suggest that there is no stylistic uniformity in Science Fiction or Fantasy narratives, as they directly dialogue with historical, political, and cultural moments, as well as with existing literary styles or movements. Keywords: Speculative fiction; Science Fiction; Fantasy; Hybridization

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29

Przełucka, Patrycja. "La post-fantasy: il ciclo letterario Inquisitore Eymerich di Valerio Evangelisti come una realizzazione dell’elemento fantastico tramite la narrazione postmoderna." Romanica Silesiana 17 (June 29, 2020): 69–80. http://dx.doi.org/10.31261/rs.2020.17.06.

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This article examines the literary series of Inquisitore Eymerich by Valerio Evangelisti, a variegated macronarrative, which, resisting generic classification, introduces innovation to the panorama of contemporary Italian fantasy. Departing from the analysis of the salient features of the series such as intertextuality, hybridization, storiographic metafiction, and transfictionality, the article examines closely the areas of postmodern narration and inquires into the role of the fantastic element in Italian literature. Evangelisti makes the most of postmodern narrative strategies and of fantasy’s ability to penetrate various media in order to provide a tool of critical reflection on human history with an emphasis on the phenomenology of power. By interweaving different literary genres and inviting readers to produce their own interpretations in form of fan fiction, Evangelisti creates a new type of committed narrative, post-fantasy, which presents a new conception of postmodern narrative, one that overcomes the barrier between the literary fiction and the genre fiction.

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30

Lee, Gabriela. "Past Selves, Future Worlds: Folklore and Futurisms in Science Fiction: Filipino Fiction for Young Adults." Comparative Critical Studies 19, no. 3 (October 2022): 417–28. http://dx.doi.org/10.3366/ccs.2022.0456.

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Science fiction written specifically for young readers has had difficulty in establishing itself as a separate genre from fantasy, especially since there is a blurred notion of what constitutes fantasy vis-a-vis science fiction in children’s literature. This difficulty is reflected in the stumbling development of children’s and YA science fiction compared to the relatively clear development of children’s and YA fantasy. As such, trying to define what science fiction for young readers is takes on a malleable, inconsistent quality compared to the more established megatexts of science fiction for adult readers. It is through these unstable definitions of science fiction for adolescents that this essay examines how selected stories from the 2016 anthology Science Fiction: Filipino Fiction for Young Adults, the first anthology of Philippine sf writing that caters directly for a young adult audience, negotiate the genre definitions of ‘science fiction’ and ‘young adult’ for a non-Western audience. Studying how these imagined futures represent the experiences of young non-Western readers who have otherwise been excluded from YA science fiction reveals how the genre can widen and expand its parameters.

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31

Briand, Michel. "Déméter et Koré, héroïnes de mythological fantasy." Cahiers du Genre 74, no. 1 (June 30, 2023): 67–92. http://dx.doi.org/10.3917/cdge.074.0067.

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Ursula Le Guin, réinventant des récits mythologiques et épiques (par exemple Lavinia , 2008) inspire des pensées et fictions écoféministes et queer , antipatriarcales et anarchistes. Après avoir revu les figurations anciennes de Déméter et Koré, on observe ici comment elles sont centrales en particulier dans deux de ses textes : Her Silent Daughter (1994), poème de mythological fantasy , et le psychomythe Kore 87. A Child Bride (1996). Le lien mère/fille ainsi que leur rapport au monde sont des moteurs d'intrigue dans ces fictions spéculatives qui, par une satire pathétique, dénoncent la violence patriarcale et économique. Cet artivisme textuel dérègle aussi les binarismes académique/populaire, fiction/réalisme ou littérature/anthropologie.

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32

Kendrick, Christopher. "Socialism and Fantasy: China Miéville's Fables of Race and Class." Monthly Review 67, no. 9 (February 2, 2016): 13. http://dx.doi.org/10.14452/mr-067-09-2016-02_2.

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Among a number of contemporary science and speculative fiction writers who identify as left-wing, China Miéville stands out, not only for the quality of his literary production, but also for the critical character of his political commitment, dedicated equally to socialism and to fantasy. In addition to his fictive works, he has written articles and given lectures on the nature and value of speculative and fantasy fiction; edited a collection of essays on Marxism and fantasy in an issue of the journal <em>Historical Materialism</em>; and, not least, published a list of "Fifty Sci-Fi and Fantasy Works Every Socialist Should Read." I wish to discuss here the form and thematics of the early novels known (after the alternate world in which they are set) as the Bas-Lag trilogy—which remains, if you take it as a single work, his most ambitious and memorable achievement. But since Miéville is a serious critic and advocate of fantasy fiction, I will approach the books with a brief discussion of his aesthetic positions and program, gathered from essays and talks as well as from his literary works.<p class="mrlink"><p class="mrpurchaselink"><a href="http://monthlyreview.org/index/volume-67-number-9" title="Vol. 67, No. 9: February 2016" target="_self">Click here to purchase a PDF version of this article at the <em>Monthly Review</em> website.</a></p>

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Alam, Mohd Adeel. "Paradigm Shift in Fantasy Literature: Screen Adaptations as a Source of Infotainment." International Journal of English Literature and Social Sciences 8, no. 1 (2023): 231–35. http://dx.doi.org/10.22161/ijels.81.28.

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In the previous two decades, young adult fiction has dominated the best-selling books, owing to its popularity and the ease with which it is widely available over the internet. Young adult fiction and high fantasy have been extensively studied in the literature in connection to a variety of genres, which also include fantasy books. Numerous researchers have examined blockbuster fantasy series in this regard. Several academics have shed new light on cinema adaptation theory or its critical examination within this area of study. As such, this study will examine the intertextual utterances seen in most significant fantasy blockbusters. The study examines a variety of disciplines, including cinema adaptations, high fantasy books, and young adult writing.

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34

Oktaviani, Danissa Dyah. "Konsep Fantasi dalam Film." REKAM 15, no. 2 (October 1, 2019): 125–36. http://dx.doi.org/10.24821/rekam.v15i2.3356.

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Fantasy films were born from the development of fiction films that have shown existence since the beginning of its history. Fantasy films have their own charm because they can penetrate time and space compared to other genres. Fiction films develop from their creators both in terms of story and cinematography because fiction films are at the center of the poles: real and abstract. Its greatest strength lies in its ability to integrate and combine with other genres without exception and can be broadly developed unlimitedly. That is because fantasy films contain elements with different characteristics from other films where if a fantasy film has one element in the making of the film then it has been said to be a fantasy film. The elements or components that are seen are derived from the narrative and cinematic elements of filmmaking which contain ideas of stories, characters, and settings in a film. These three elements are the forming components of fantasy films that are fictitious and imaginative. The idea of the story is not based on an imaginary reality, that is a fiction that makes no sense. In the case of fantasy films, filmmakers will compete to develop and present ideas that have not been thought of before, so the audience seems to be carried away in a new world outside of real life. Character characters in fantasy films are the imagination of creators in fictitious forms, such as: animal characters, extraterrestrials, monsters, robots, and non-physical characters such as ghosts, spirits and holograms. While the background elements in fantasy films have a character setting place and time imaginative events are unique in unknown times or dimensions, can be past, present, and future with the centuries formed by the creators.

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35

Dhakal, Lekha Nath. "Fantasy in Literature: A Symbiotic Relation to the Real." Pravaha 26, no. 1 (June 1, 2020): 119–23. http://dx.doi.org/10.3126/pravaha.v26i1.41866.

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This article attempts to explore the use of fantasy in literature and how it has attained the position of a literary category in the twentieth century. This work also concerns how as the form literature, it functions between wonderful and imitative to combine the elements of both. The article reveals that wonderful represents supernatural atmospheres and events. The story-telling is unrealistic which represents impossibility as it creates a wonderland. In the imitative or the realistic mode, the narrative imitates external reality. In it, the characters and situations are ordinary and real. Fantasy in literature does not escape the reality. It occurs in an interdependent relation to the real. In other words, the fantastic cannot exist independently of the real world that limits it. The use of fantastic mode in literature interrupts the conventional artistic representation and reproduction of perceivable reality. It embodies the reality and transgresses the standards of literary forming. It normally includes a variety of fictional works which use the supernatural and actually natural as well. The developers of fantasy fiction are fairy tales, science fiction about future wars and future world. A major instinct of fantastic fiction is the violence threatened by capitalist violation of personality that is spreading universally.

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36

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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Yep, Laurence. "The Outsider in Fiction and Fantasy." English Journal 94, no. 3 (January 1, 2005): 52–54. http://dx.doi.org/10.58680/ej20054210.

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For Laurence Yep, the outsider is a dominant theme in writing and life. Whether writing historical and contemporary fiction, science fiction, or fantasy, he hopes that readers will see the magic and wonder in the world that can be found by shifting perspective and seeing “things instead as outsiders.”

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Berman, Ruth. "Fantasy Fiction and Fantasy Criticism in Some Nineteenth-Century Periodicals." Extrapolation 37, no. 1 (April 1996): 63–95. http://dx.doi.org/10.3828/extr.1996.37.1.63.

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Blanc, Nathalie, and Agnès Sander. "Reconfigured Temporalities Nature's Intent?" Nature and Culture 9, no. 1 (March 1, 2014): 1–20. http://dx.doi.org/10.3167/nc.2014.090101.

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Speculative fiction as a literary genre is a test of the renewed relation to nature presented as possible reality. The vision of nature presented by some science fiction and fantasy authors varies along these lines. The hypothesis underlying the present article is that these "speculative fiction–proposed natures" force us to rethink the rapport between time and space. Therefore, we need to examine to what extent science fiction and fantasy, focused on the preparation of an uncertain future, play on the links between time and nature and reconfigure both the agencies and the aesthetic situations that serve as experiments.

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Nurgali, Kadisha, and Katerina Melnova. "THE BASICS OF WORLD-BUILDING IN THE WORKS OF THE FANTASY GENRE." Bulletin of the Eurasian Humanities Institute, Philology Series, no. 1 (March 15, 2024): 188–99. http://dx.doi.org/10.55808/1999-4214.2024-1.14.

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The article presents the theoretical foundations of world building in the genre of fantasy literature. In the context of the general category of fantasy literature, the creation of worlds is closely interrelated with science fiction. Consideration of the construction of the world can be divided into various aspects, depending on the point of view of the researcher. Some scientists divide into micro and macro levels, while others, without dividing it into two categories, analyze geography, biology, magic and culture in a single system. Practical guides for authors of fantasy literature describe in detail the process of world-building. The article examines the main groups that coincide among various researchers and authors of fantastic works, as well as variants of the worlds created by the authors. Such worlds include fictional, fictional, historical, or alternative worlds, as well as the original Earth. These categories of worlds fully or partially correspond to fantasy genres, revealing the main goals and intentions of the author. The influence of culture and the real world on the formation of the fictional world plays a special role. Fantasy is an excellent platform for exploring and uncovering the problems we face on a daily basis.

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Khorob, S. S. "CONCEPT OF "SOUL" IN THE NARRATIVE-FANTASY OF VOLODYMYR ARENIEV "DUSHNYTSIA"." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 332–37. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-332-337.

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Problem setting. Fundamental scientific research on science fiction in contemporary literary criticism is rather an exception than a regularity. For a long time fantasy did not have sufficient scientific support, remaining just a genre of mass culture. However, lately, science fiction is seen not only as something purely entertaining. After all, it gradually develops: from the scientific object of separate researches (M. Nazarenko, A. Niamtsu, S. Oliinyk, O. Stuzhuk, etc.) to the theme of the great conference “Slavic science fiction” at Taras Shevchenko Kyiv National University and later to the constantly acting (from 2015) research center of literature on fantasy at Taras Shevchenko Institute of Literature in National Academy of Sciences of Ukraine. There is also a trend from a single research to system ones. Therefore, in modern study of literature, the situation has improved considerably concerning proper understanding of this problem, but many aspects of science fiction need to be scientifically substantiated and explored. Analysis of the research. In our opinion among all modern Ukrainian fantasy writers special attention deserves Volodymyr Areniev (Volodymyr Puzii). However, there are few articles about his work. With the exception of the reviews (A. Rybalka on Bukvoiid, A. Shtefan on Chitomo or V. Chernyshenko on the Litaccent) or tangentially to a certain theme (Ovdiichuk L. “Chronotop as a genre factor in modern science fiction and fantasy for children”, Oliinyk S. “Book image in the fantasy world”, as an independent object, appeared in the researches of Oles Stuzhuk and Solomiia Khorob. Therefore, we see the actuality of this scientific article. Goal. To analyze the novel “Dushnytsa” by Volodymyr Areniev in terms of the functioning of the concept “soul”, which appears to be central in this work. It is also necessary to pay attention to the genre peculiarities of the existence of fantasy in the work of the chosen writer.

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Repenkova, Maria M. "GÜlten DayioĞlu’s Alternative History Fantasy Novel." Oriental Courier, no. 2 (2022): 129. http://dx.doi.org/10.18254/s268684310021600-8.

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The paper observes the artistic features of the fantasy novel Twilight Birds (Alacakaranlık Kuşları, 2005) by the famous contemporary Turkish writer Gülten Dayioğlu. The study aims to prove that the novel, in terms of its artistic and aesthetic attributes, belongs to a subgenre of science fiction, alternative history, which is new to Turkish literature. The following objectives were pursued: to characterise Turkish fiction literature in 1990–2000 (classification of genres, genre features, representatives of each genre), to outline the main stages in the study of Turkish fiction by national researchers from the mid-20s to the early 21st century, to cover the writer’s biography of G. Dayıoğlu, the content of the novel Twilight Birds, the plot motifs, the main themes and the imagery. The paper argues that the plot element of the novel is the legends, which eventually gain fantasy qualities and become a form of an alternative historical development for the human civilisation. The provided examples demonstrate that the compositional structure of the novel, including the system of images, depicts an alternative form of existence — a highly developed bird civilisation on a mysterious planet. This civilisation is portrayed as the ideal society to which all earthlings should aspire. In conclusion, the fiction in the novel is inextricably linked to scientific and technological advances as evidenced by the numerous references to scientific works in the text. Moreover, G. Dayioğlu’s fiction approaches vital sociopolitical issues and forms an authentic aesthetics that takes her work beyond mass literature.

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Takahashi, Yuka, Toshiyuki Himichi, Ayumi Masuchi, Daisuke Nakanishi, and Yohsuke Ohtsubo. "Is reading fiction associated with a higher mind-reading ability? Two conceptual replication studies in Japan." PLOS ONE 18, no. 6 (June 22, 2023): e0287542. http://dx.doi.org/10.1371/journal.pone.0287542.

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Previous studies have revealed that reading fiction is associated with dispositional empathy and theory-of-mind abilities. Earlier studies established a correlation between fiction reading habits and the two measures of social cognition: trait fantasy (i.e., the tendency to transpose oneself into fictitious characters) and performance on the Reading the Mind in the Eyes Test (RMET; a test of the ability to identify others’ mental states based on their eyes). Recently, experimental studies have shown that brief exposure to fiction enhances RMET performance. Nevertheless, these studies have been conducted only in Western countries, and few published studies have investigated these relationships in Asian countries. This research aims to address this gap. Study 1, which involved 338 Japanese undergraduates, conceptually replicated the previously reported correlations between fiction reading and fantasy and RMET scores (after statistically controlling for the effect of outliers). However, Study 2, which involved 304 Japanese undergraduates, failed to replicate the causal relationship. Participants read an excerpt either from literary fiction or from nonfiction, or engaged in a calculation task, before completing the RMET. Brief exposure to literary fiction did not increase the RMET score. In sum, this study replicated the associations of fiction reading with fantasy and RMET scores in Japan, but failed to replicate the causal relationship.

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Calloway Sueda. "Milton in Science Fiction and Fantasy." Milton Studies 63, no. 1 (2021): 136. http://dx.doi.org/10.5325/miltonstudies.63.1.0136.

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Rubin, David A. "Femoroacetabular Impingement: Fact, Fiction, or Fantasy?" American Journal of Roentgenology 201, no. 3 (September 2013): 526–34. http://dx.doi.org/10.2214/ajr.13.10913.

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Hoeveler, Diane Long. "Charlotte Brontë’s Oeuvre as Fantasy Fiction." Victorians: A Journal of Culture and Literature 130, no. 1 (2016): 15–37. http://dx.doi.org/10.1353/vct.2016.0012.

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Brazier, P. H. "Truth and Fantasy, Reality and Fiction." Journal of Inklings Studies 1, no. 1 (April 2011): 83–91. http://dx.doi.org/10.3366/ink.2011.1.1.8.

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Hammond, Charles E., and Lee Yu-hwa. "Fantasy and Realism in Chinese Fiction." Chinese Literature: Essays, Articles, Reviews (CLEAR) 8, no. 1/2 (July 1986): 126. http://dx.doi.org/10.2307/495129.

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Farmer, Lesley S. J. "Feminist Science Fiction, Fantasy, & Utopia." Reference Reviews 32, no. 2 (February 19, 2018): 14–15. http://dx.doi.org/10.1108/rr-01-2018-0004.

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Bhugra, Dinesh. "Nordic Noir: Fact, fiction, fetish, fantasy." Lancet Psychiatry 3, no. 2 (February 2016): 113–14. http://dx.doi.org/10.1016/s2215-0366(15)00582-9.

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