Relevant bibliographies by topics / Sword and sorcery

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

Academic literature on the topic 'Sword and sorcery'

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

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Journal articles on the topic "Sword and sorcery"

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Leotta, Alfio. "From Conan the Barbarian to Gunan il guerriero: Re-contextualizing spaghetti sword and sorcery." Journal of Italian Cinema & Media Studies 9, no. 2 (March 1, 2021): 225–43. http://dx.doi.org/10.1386/jicms_00063_1.

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The release of Conan the Barbarian (1982) played a crucial role in the emergence of the sword and sorcery film, a subgenre of fantasy cinema featuring muscular heroes in violent conflict with wizards and other supernatural creatures. Italian genre filmmakers attempted to capitalize on the international popularity of sword and sorcery by quickly producing a number of low-budget films, which emulated the stylistic and narrative features of Conan. Over a period of six years, between 1982 and 1987, the Italian film industry produced almost two dozen sword and sorcery films, which achieved mixed results at the box office. Although recently an increasing number of international film scholars have focused on the critical examination of Italian genre cinema, to date, little attention has been devoted to the study of Italian sword and sorcery. By examining the aesthetic features of four Italian sword and sorcery films (Gunan il guerriero [1982], Ator l’invincibile [1982], Hercules [1983] and The Barbarians [1987]), as well as their modes of production and distribution, this article proposes the first comprehensive critical examination of this filone.
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Płoszaj, Joanna. "Między wzniosłością a upodleniem. Obrazowanie oraz znaczenie śmierci w fantasy przygodowej i mitopoetyckiej." Literatura i Kultura Popularna 23 (May 31, 2018): 75–91. http://dx.doi.org/10.19195/0867-7441.23.6.

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Literary images and functions of death in sword and sorcery and mythopoeic fantasyThis article presents and compares methods of description of death in two primary variants of fantasy literature: sword and sorcery and mythopoeic fantasy. The focus is on works of the precursors of fantasy literature — Robert E. Howard Conan the Barbarian series and John R.R. Tolkien The Lord of the Rings, Silmarillion, and texts of authors who creatively developed two primary types of fantasy literature — Fritz Leiber Fafhrd and the Gray Mouser cycle and Ursula K. Le Guin Earthsea cycle.The analysis is divided into two parts. The first one describes methods of presentation of death and their functions in sword and sorcery literature. In this variant of fantasy many literary images of death can be found, which focus particularly on its biological aspects. The next part shows analogical elements in mythopoeic fantasy, where the descriptions of death are inspired by the medieval chansons de geste.The article shows important differences between methods of presenting of death in sword and sorcery and mythopoeic fantasy and between functions of death in this two primary types of fantasy literature. In sword and sorcery the descriptions of death have great importance in the adventure plot structure, because they are connected with activities and adventures of the main character. In mythopoeic fantasy the kind of a character’s death often shows moral condition of this character. Moreover, death in mythopoeic fantasy is important for the balance and stability of created world.
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GULANOWSKI, PIOTR. "Robert Ervin Howard’s Vision of the Supernatural in Beyond the Black River." Journal of Education Culture and Society 4, no. 2 (January 10, 2020): 340–49. http://dx.doi.org/10.15503/jecs20132.340.349.

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The plot and the presented world of Robert Ervin Howard’s Beyond the Black River are representative of sword and sorcery, a subgenre of fantasy fiction that Howard is claimed to have pioneered. It has been proposed that the worlds in fantasy fiction are coherently organised, natural, and material. Nevertheless, supernatural elements that are not consis-tent with the structure of the universe are present. The struggle between the structured worlds and the chaotic supernatural that is resolved by an intervention of a barbarian hero constitute the essence of the sword and sorcery subgenre. These elements can also be found in Beyond the Black River by Howard, who employs contrastive images to present the super-natural.
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Jones, Keith. "A Time of Plague: Allegory, Seriality, and Historicity in Samuel R. Delany’s Return to Nevèrÿon." MELUS: Multi-Ethnic Literature of the United States 48, no. 4 (December 1, 2023): 93–116. http://dx.doi.org/10.1093/melus/mlad080.

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Abstract Among the most prolific and consequential US writers, Samuel R. Delany has published novels and short stories, a magnificent autobiography, various memoirs of social commentary, extraordinary essays of literary theory and criticism, and numerous (written) interviews. However, it is his Nevèrÿon sword and sorcery series (1979-87) that he describes as his most ambitious narrative “experiment.” Occupying Delany for nearly a decade, Nevèrÿon’s singularity as a narrative experiment is not solely achieved in terms of its complex unfolding as a series, with each tale accumulating over four volumes into an astonishing ensemble of stories, images, and worlds. Beyond its unfolding and enfolding of tales and beyond its “play” at the “game” of sword and sorcery central to its fictional experiment is its commitment to the “paraliterary” construction of his text. Refusing the distinctions marked out by “literary” and “non-literary,” Delany uses a serial narrative platform to braid together philosophical discourses and genre elements into a theoretically complex textual ensemble that comes to include both the rupture of AIDS and of an AIDS-like epidemic into the ninth tale of the series, the novella The Tale of Plagues and Carnivals (1985). Referring to it as his “novel of crisis,” Delany weaves New York City and the fictional world of Kolhari into what he calls “a document of our times,” opening sword and sorcery to a baroque discursive and rhetorical flux historiographically aware of itself both as a marginal cultural form and as a document of lives at the margins of a world-historic plague.
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Murphy, Brian. "From Pulps to Paperbacks: The Role of Medium in the Development of Sword‐and‐Sorcery Fiction." Journal of American Culture 44, no. 1 (March 2021): 43–53. http://dx.doi.org/10.1111/jacc.13231.

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Wright, Andrea. "A sheep in wolf's clothing? The problematic representation of women and the female body in 1980s sword and sorcery cinema." Journal of Gender Studies 21, no. 4 (December 2012): 401–11. http://dx.doi.org/10.1080/09589236.2012.681183.

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Franklin, Seb. "Racial Capitalism and the Informatics of Value." Social Text 39, no. 2 (June 1, 2021): 69–91. http://dx.doi.org/10.1215/01642472-8903620.

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Abstract This article takes the presentation of mechanical and informatic models in Samuel Delany's Neveryóna as an occasion to examine the relations of force, abstraction, information, and differential valuation that constitute racial capitalism. In order to do this, the article considers the continuities and divergences between the principles those models demonstrate, the lessons on value and economic determination that precede them, and Delany's subsequent presentation of surplus populations, intricated “free” and slave labor, and the modes of racialized differentiation that shape and are shaped in the interstices of those social formations. In Delany's sword-and-sorcery bildungsroman, the models illustrate the abstract logic of value, show that logic to be informatic in character, and point toward a dialectical relationship between this informatic logic and the concrete practices of dispossession that produce and operate through ascriptive race and gender regimes. Value's abstract operations are too often understood to be incommensurable with such regimes, yet Delany's presentation deploys the language and processes associated with informatics to reveal an essential relationship between the abstract network that results from value's mediating function and the modes of ascription and concrete violence that, as a result of such mediation, tend to be associated with precapitalist or noncapitalist social formations.
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Płoszaj, Joanna. "Krew i brud. Uwagi na temat estetyki oraz poetyki opisów śmierci w cyklu o wiedźminie Andrzeja Sapkowskiego." Literatura i Kultura Popularna 26 (September 16, 2021): 127–49. http://dx.doi.org/10.19195/0867-7441.26.11.

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Andrzej Sapkowski’s The Witcher series is the first Polish fantasy series that has gained so much popularity. When Sapkowski published his first story — The Witcher — in 1986, fantasy literature wasn’t well-known in Poland. In fact Polish readers, who were interested in fantasy, would mainly know John R.R. Tolkien’s novels like The Hobbit, Or Thete and Back Again, The Lord of the Rings or Silmarillion, all belonging to mythopoeic fantasy. Sapkowski’s story was vastly different from them, because the Polish author referred to sword and sorcery literature, which at that time was little-known in Poland. He created an interesting protagonist and a dark, vicious world, full of violence and graphic descriptions of death. It appears that one of the main factors having an influence on the huge popularity of the series, may be the attempt to shock the reader by using a unique construction of the presented world, which contains a lot of graphic violent imagery. This article presents those methods of description of death and violence in The Witcher series to present why they are so interesting to the readers and what makes them stand out from the rest of similar descriptions in Polish fantasy literature. The analysis is divided into several parts. The first part presents the influence of Sapkowski’s debut story on Polish fantasy literature. The second part contains the analysis of the dynamics of descriptions of death. The third and the fourth focus on showing the individualisation of death in The Witcher series and on detail exposure. The next part presents the narrative treatments used by Sapkowski to increase the impact of the literary images of death, for example changes of a narrative perspective. The last part of the article presents naturalistic elements of the descriptions and explains what functions they perform in the text.
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Repenkova, Maria M. "On the coordinate change in the Turkish literary process." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 1 (2024): 222. http://dx.doi.org/10.31857/s086919080029201-8.

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Abstract: In this study, the author examines the literary landscape in Turkey given the new dimension opened by the vertical gradation of fiction. The division of literature into high literature (classic), middle-tier (Belles-lettres), and low-tier literature (for mass consumption) is becoming increasingly prominent. Belles-lettres seems to be the most mobile of those, with its representatives being able to, over time, find themselves both at the top and the bottom rung of this paradigm. Zülfü Livaneli's works straddle the line between the high literature and belles-lettres, while books by Barış Müstecaplıoğlu are a perfect example of mass literature becoming regarded as belles-lettres. Another productive approach is horizontal gradation – dividing modern Turkish literature into genres. This is especially true for mass literature, where a clear classification into genres and subgenres is pretty much a precondition for existence. The study singles out such genres of mass literature as detective novels, women's romance novels, and historical adventure novels. Speculative fiction occupies a special place in this, with its genre affiliation being a topic of major discussions. The Turkish literature of the 2000s features several principal genres of speculative fiction: sci-fi (K. Kutlu, G. Berkkan, H. Balçı) with alternative history being a part of such (G. Dayıoğlu, H. Kakınç); fantasy with its subgenres of urban fantasy (S. Yemni, S. Atasoy, G. Elikbank, F. O. Şeran, C. Yücel), "sword and sorcery" fantasy (B. Müstecaplıoğlu, A. Aras, G. Canbaba) and dark fantasy (S. Ersin, G. Öğüt), as well as the genre of dystopia (A. Şaşa). In conclusion, the author argues that analyzing literary pieces necessitates operating with both the vertical and horizontal paradigms simultaneously.
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Moffett, Todd. "The Sorcerer in Sword Art Online: A Glance at the Archetype." Popular Culture Review 35, no. 1 (December 2024): 11–45. http://dx.doi.org/10.1002/j.2831-865x.2024.tb00808.x.

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ABSTRACTSome villains in the anime Sword Art Online are influenced by the sorcerer archetype, drawn from legends of fairyland, medieval tales of hostile magicians, and the ancient figure of the shaman. The concentration of sorcerers in SAO makes it fertile ground for tracing the archetype in both Western and Japanese sources before turning to how SAO uses those influences in its world‐building and in the development of its own brand of sorcerer.
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Dissertations / Theses on the topic "Sword and sorcery"

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Emery, Philip. "Revivifying the Ur-text : a reconstruction of sword-&-sorcery as a literary form." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/36307.

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From the early 1980s until the late 1990s the genre or sub-genre known as sword-&-sorcery was largely moribund. The Tolkien-derived high fantasy novel, on the other hand, flourished and mutated into six, eight, ten volume, or open-ended series. Even though the terms high fantasy and sword-&-sorcery are sometimes used interchangeably, sword-&-sorcery came to be viewed as an inferior, cruder form: rougher in style, more limited structurally, stunted in terms of character development, even morally questionable (rather than ambiguous). Revivifying the Ur-text aims to investigate if it is possible to subvert the genre, to create a work that realizes the form s potential to exist as literature . In order to do this it attempts to both analyze and re-vision the form by rendering the genre down to its pristine elements - exemplified but not monopolized by the widely-acknowledged creator of the sword-&-sorcery form, Robert E. Howard. The critical areas of the thesis thus concentrate on Howard, but extend backwards to Beowulf as proto-sword-&-sorcery and forwards to contemporary fantasy writers such as Joe Abercrombie and Steve Erikson. It begins by constructing an account of the creation of the form by Howard, hypothesizing that the conditions for its genesis are a result of the writer s internal emotional and thought processes interacting with external circumstances. This is followed by a study of a set of highly influential anthologies published in the sixties edited by Lyon Sprague de Camp, interrogating de Camp s introductions as well as his selections, sub-categorizing these into the variations on the Howardian model which evolved in the wake of his 1920/30s work, work from which other writers developed a commonly perceived genre. From this the thesis proceeds to a consideration of related forms such as epic fantasy, science fantasy, and grimdark, prefaced by a survey and analysis of what sword-&-sorcery was/is perceived to be by commentators such as de Camp, Brian Attebery and Peter Nicholls. These sections are followed and augmented by a refocusing on Robert E. Howard. A consideration of the crucial relationship between violence and the numinous in his fantasy is central to this thesis. This is done both through research into published texts, mainly fictional but also non-fictional, and is discussed both generally and through in-depth case studies of two stories, attempting to identify the particular elements of his writing which contributed to the birth and definition of sword-&-sorcery in order to establish Howard s output as an Ur-text . The creative heart of this research is my sword-&-sorcery fiction, The Shadow Cycles. Here I have attempted to write a narrative in the form which innovates narrative techniques, modifying or abandoning the generic scaffolding of situations, and methods of characterization, and developing a style of language appropriate to my aim of revisioning Howard s Ur-text for the 21st century. This is followed by a concluding afterthesis which draws on all the preceding sections to explicate the relationship between the critical and creative elements of the thesis. As with earlier critical sections, these recruit a synthesis of literary history, influence studies, genre theory, narratology, and practical criticism. By so doing they touch on conceptions of the literary such as those of Bakhtin, Eagleton, Todorov, and Katherine Hume.
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Rovinsky, Thomas. "Conan fascisten? En idéanalytisk studie kring sword and sorcery och Robert E. Howards fiktive barbar." Thesis, Högskolan i Borås, Institutionen Biblioteks- och informationsvetenskap / Bibliotekshögskolan, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-18267.

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This thesis falls within the realm of social studies, specifically social studies in literature, and attempts to establish whether the sub-genre of fantasy literature known as sword and sorcery contains elements which resemble the tenets of fascism. Robert E. Howard is considered the progenitor of the sub-genre and his stories have an influence on the nature of sword and sorcery literature today, 70 years after his death. Howards creation of the sub-genre coincides with the spread of fascist ideologies around the world in the 1930s and the study attempts a societal mirroring analysis of Howards texts. With the help of an analytical model based on fascism expert Robert O. Paxtons so-called mobilizing passions of fascism, Howards stories of Conan the barbarian have been deconstructed and analyzed. The study shows clearly that certain elements of the stories do indeed correspond to basic ideological elements of fascism. However, the results of the study are inconclusive as to whether this indicates that sword and sorcery was inspired by the widespread surge of fascism which occurred at roughly the same time, or if they simply sprang from the same sociocultural soil. The similarities are tempered by the issue of context and the presence of numerous exceptions. Further studies with different scientific tools and parameters would be required to establish the nature of a possible connection between fascist ideology and sword and sorcery based on the similarities found.
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(13108435), Kevin Glen McLean. "The creation and analysis of a mythic, high fantasy, swords and sorcery novel." Thesis, 2005. https://figshare.com/articles/thesis/The_creation_and_analysis_of_a_mythic_high_fantasy_swords_and_sorcery_novel/20327316.

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This dissertation comprises a creative work, The Ulfang Tower, and an exegesis of that creative work. The creative work is situated within the area of literary fiction: more specifically it is a novel in the fantasy genre and its subgenres of myth, romance (in the medieval sense of the term), high fantasy, and swords and sorcery in its modern sense. The exegesis will locate the creative work within the history of the genres it is contributing to and the ideological affiliations it shares with /deviates from in respect to those genres as well as providing a detailed critique of the novel itself in terms of such devices as narrative point of view, characterisation and style.

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Books on the topic "Sword and sorcery"

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Marx, Christy. Sword of sorcery: Amethyst. New York: DC Comics, 2013.

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Strahan, Jonathan, and Lou Anders. Swords & Dark Magic: The New Sword and Sorcery. Edited by Jonathan Strahan and Lou Anders. New York: EOS, 2010.

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Strahan, Jonathan, and Lou Anders. Swords & Dark Magic: The New Sword and Sorcery. Edited by Jonathan Strahan and Lou Anders. Burton: Subterranean Press, 2010.

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Skora, André, Ingo Schulze, and Michael Quay, eds. Blutroter Stahl: Sword & Sorcery Anthologie. Frankfurt am Main, Germany: Mantikore, 2018.

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Inc, ebrary. The sword and sorcery anthology. San Francisco: Tachyon Publications, 2012.

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Skora, André, Ingo Schulze, and Michael Quay, eds. Blutroter Stahl: Sword & Sorcery-Anthologie. Frankfurt am Main, Germany: Mantikore, 2018.

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Mannes, David, Patrick Lawinger, and Scott Greene. Eldritch Sorcery (Sword & Sorcery). White Wolf Publishing, 2005.

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Mearls, Mike, and James Bell. Sword and Sorcery Natures Fury (Sword Sorcery). Fiery Dragon, 2001.

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Sword And Sorcery. Bantam, 2009.

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D20. D20 Dice Ultimate Fantasy: Sword And Sorcery (Sword and Sorcery). White Wolf Publishing, 2004.

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Book chapters on the topic "Sword and sorcery"

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Strugnell, John. "Hammering the Demons: Sword, Sorcery and Contemporary Society." In Twentieth-Century Fantasists, 172–82. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22126-4_14.

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"sword and sorcery, n." In Oxford English Dictionary. 3rd ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/1040356930.

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Jerng, Mark C. "Fantasies of Blackness and Racial Capitalism." In Racial Worldmaking, 129–58. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823277759.003.0007.

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This chapter traces sword and sorcery’s re-emergence as a popular genre in the 1960s and 1970s during the era of U.S. Civil Rights movements. It shows how strategies for reproducing racism despite changing political sensibilities are constructed through the genre of sword and sorcery. These strategies go hand in hand with soon-to-be dominant re-imaginations of free market economics by economists such as Milton Friedman and Gary Becker. The chapter analyzes the work on the economics of discrimination in relation to Samuel Delany’s use of sword and sorcery to reflect on how race gets used to imagine market processes. Delany’s Nevèrÿon series adds another dimension to understandings of racial capitalism by focusing on race as economic utility.
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Jerng, Mark C. "The “Facts” of Blackness and Anthropological Worlds." In Racial Worldmaking, 103–28. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823277759.003.0006.

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This chapter discusses the origins and development of sword and sorcery in the pulps and fanzines of the 1930s. It starts with Robert Howard’s Conan the Barbarian stories and reads these stories in relation to contemporaneous fanzine commentary. show an intricate process of worldbuilding whereby race is located at higher and higher levels of meaning even though its correspondence with actual “races” is deeply questioned. This interpretive strategy mirrors the work of cultural anthropologists who were critiquing biological racism, thus demonstrating that race was not so much being critiqued as it was being elevated to a different order of meaning. It details these interpretive strategies in order to show the simultaneous reproduction of race in the building of sword and sorcery as a genre with the embedding of race in anthropological thought.
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Jackson, Christine. "Intellectual Ambitions and Interests." In Courtier, Scholar, and Man of the Sword, 197–218. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192847225.003.0010.

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Highly educated seventeenth-century noblemen and gentlemen frequently studied theology, history, and philosophy privately for pleasure; wrote verse; and acquired libraries, but rarely wrote books and treatises. Chapter 9 builds upon the literary, philosophical, and theological interests identified in earlier chapters and provides the intellectual context for Herbert’s emergence as a respected gentleman scholar and published academic writer. It introduces the scholarly circles with which he was associated in London and Paris, his membership of the European Republic of Letters, and his links with scholarly irenicism. It establishes his scholarly connections with John Selden, William Camden, Sir Robert Cotton, Hugo Grotius, Marin Mersenne, René Descartes, Pierre Gassendi, Thomas Hobbes, Tommaso Campanella, Fortunio Liceti, Gerard Vossius, John Comenius, and others. It examines Herbert’s scholarly practices and rebuffs claims that he was a dilettante. It browses the collection of books he accumulated in his substantial libraries in London and Montgomery, which ranged across the academic spectrum from theology, history, politics, literature, and philology through the various philosophical and mathematical disciplines to the natural and physical sciences, jurisprudence, and medicine, but also included works on architecture, warfare, manners, music, and sorcery and anthologies of poetry and books of romance literature. It suggests that Herbert’s scholarship was motivated as much by intellectual curiosity and the need to reduce religious conflict as by a desire to secure personal recognition and approval.
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Shippey, Tom. "Cultural Engineering: A Theme in Science Fiction." In Hard Reading, 89–102. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781382615.003.0010.

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As a form, science fiction conceals homogeneity beneath apparent diversity. The diversity can be seen by looking at the range of paperbacks in any bookshop. One finds lumped together ‘end of the world’ stories, galactic empire stories, stories of the near future and, via time travel, of the very far past, as well as stories that have nothing to do with science at all but depend on magic, or the fantasy type known as ‘sword and sorcery’. One might well think that the inclusion of all these under one heading is just a mistake, that the diversity is genuine. There are two reasons for thinking that is not so: that there is something holding all this diversity together. One is temporary and practical; the other is an element that regular readers recognise, something that forms a large part of the genre’s appeal....
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Moberly, Kevin, and Brent Moberly. "Swords, Sorcery, and Steam: The Industrial Dark Ages in Contemporary Medievalism." In Studies in Medievalism XXIV, 193–216. Boydell and Brewer, 2015. http://dx.doi.org/10.1515/9781782044833-018.

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Gerrard, Steven. "‘I'll Be No Man's Slave and No Man's Whore, and If I Can't Kill Them All, by the Gods They'll Know I've Tried’. Swords, Sorcery and Barbarian Queens." In Gender and Action Films 1980-2000, 37–49. Emerald Publishing Limited, 2022. http://dx.doi.org/10.1108/978-1-80117-506-720221003.

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