Fantasy - Define Fantasy

How does Attebery (1980) define fantasy?

The genre known today as ‘fantasy’ has been around for many years. At times, stories that fall under this genre can share similar aspects with other genres such as science fiction. This post will discuss certain aspects that can be used to best describe fantasy and differentiate from others.

An article produced by Attebery (1980) importantly highglights stories such as the Lord of the Rings, Narnia and Alice in Wonderland as they exhibit key themes throughout that correlate with that of which a fantasy piece can be defined as.

Attebery goes on to support a claim made by Irwin (1976), in that an important feature in the fantasy genre is an “overt violation of what is generally accepted as possibility”.

Futhermore, Attenbery states that “any narrative which includes as a significant part of its make-up some violation of what the author clearly believes to be natural law – that is fantasy.” This can be exemplified by objects or “things” that we know don’t exist in our world such as dragons or wizards. In addition to this, fantasy authors may decide to give inanimate objects such as trees the ability to move their branches freely to hit those who trespass or grant a hat the ability to talk, all features that challenges the reality of the world we live in. Fantasy provides stories and establishes rules that makes this all a bit more plausible.

Moreover, Attenbery (1980) describes that with all these rules and absurd details that are often included in fantasy stories that it is vital that these all remain consistent from begining to end to ensure the reader shows the same commitment. He continues on and claims that a fanatasy piece can be similar to a game wherein one must immerse themself completely and show an uncompromising acceptance of terms of the game (Attenbery, 1980). By doing so, it often rewards the readers with an escape from the natural world and allowing them to enjoy the wonders of the fantasy world.

In addition to this Attenbery acknowledges Rabkin’s (1976) defintion of what “true fantasy” is, which can be loosely described as fantasy that contradicts itself and it’s own story rather than the world that we live in.

Lastly, fantasy stories have a habit of making the impossible appear familiar and the familiar appear unheard of and new (Attenbery, 1980). This can be highlighted by having a normal garden, however by placing a ‘unicorn’ in this garden it changes the whole dynamic. The unicorn becomes the primary aspect of the piece and transforms this garden into something more majestic and creates a ‘wonder’ (Attenbery, 1980).

Referennce list:
Attebery, B. (1980). The fantasy tradition in American literature: From Irving to Le Guin. Bloomington: Indiana University Press.

Irwin, W. R. (1976). The Game of Impossible: A Rhetoric of Fantasy. Urbana, Illinois: University of Illinois Press.

Rabkin, E. R. (1976). The Fantastic in Literature. Princeton, New Jersey: Princeton University Press.

A Wizard of Earthsea: In what ways does Tax (2002) suggest that Earthsea may still be relevant today? by Rowan Moss

In what ways does Tax (2002) suggest that Earthsea may still be relevant today?

A Wizard of Earthsea is an imaginative and emotionally deep tale about a young man named Ged who becomes a wizard and learns about the dark side of human nature, especially his own. The themes in the text are not simply ones based entirely on fantasy. In fact, the themes in A Wizard of Earthsea are vitally relevant to today, as suggested in M. Tax's 2002 article.

Tax (2002) tells us that during much of the 20th century, and even up to this day to some degree, that fiction heavily grounded in reality was considered "Serious" literature and other genres, such as fantasy or science fiction, were inferior. This is no doubt because of the increasing interest in such things as rationalism and science, even secularism, as noted by Tax (2002) also. Without this direct connection people no doubt felt or feel that the themes expressed in the narrative are of no relevance to their lives and thus not worthy of their attention. However, the themes in Earthsea, despite it them being set against an otherworldly backdrop, are very relevant to our real world society.

An example of such a theme, the key theme of the text, is the dark side of human nature. Ged, consumed by jealousy, pride and hatred, conjures forth a shadow which tries to destroy him. At first he runs from it fearing it, then he tries to destroy it but is unable, and finally he accepts it into himself, quite literally, seeing that it is a part of him. Undeniably there is a dark side to human nature, one we try to destroy or hide, but in the end must find a way to accept. This idea of alter ego is, and forever will be, an important idea to society.

Another idea Tax (2002) talks about is one not found necessarily in the text, but more in the readers reaction. "They let the wind into our imaginations, and help to set us free". Tax (2002) talks about fantasy's ability to transport its reader to another universe for some much needed escapism. Our society has become increasingly anti creative, non expressive or just plain dull and fantasy helps alleviate that. In fact, I believe that some measure of fantasy or make-believe is necessary for our complex minds, minds which often wonder into other realities regardless. Despite what mainstream literature might say fantasy undoubtedly has its place amongst the world of fiction and narrative.

References:

Le Guinn, U. (1993; 1968). A Wizard of Earthsea. London: Penguin.

Tax, M. (Jan 28, 2002). Year of Harry Potter, Enter the Dragon. In The Nation.


By Rowan Moss

Was Ursula K Le Guin Sexist or Racist?

I believe many of my esteemed fellow PopGenres students are fooling themselves by simply not recognizing the irony in Le Guin's storytelling.

’There is a saying on Gont, ‘Weak as woman’s magic’ and there is another saying ‘wicked as woman’s magic’” (Le Guin, 1968) 
- boo, nasty nasty author and how appalling sexism by a woman... - suggest the posts of many.

Are we reading the same book? 

“When you’re a hammer everything looks like a nail.” (Unknown.) This widespread commonplace does seem to raise its ugly head here: In our zeal to champion diversity, gender equality and lots of other [...]-ities, [...]-doms and [...]-nesses, we are crying wolf where is none. Zilch, zero, nada.  Accusing Le Guin of sexism is a complete misunderstanding.

I believe if an author depicts the reality of his or her imaginary world, which world is unavoidably a commentary of ours, then he or she has every right to remind us of - or even rub our noses into- the stereotypes regarding sex or race which distort our [or the author's contemporaries' or compatriots'] vision more or less depending on how conscious or successful the efforts are that we make to bypass these stereotypes. 

I must point out one very common misunderstanding regarding stereotypes. Many educated people, who wish to see themselves as kind, intelligent, emphatic, compassionate, etc., believe that stereotypes are evil and held true only by the cold hearted or ignorant. Sorry folks, very far from true. 

The reality is, stereotypes have helped our ancestors staying alive in not-civilised environments: they are efficient and effective shortcuts which the not-so-modern parts of our brains use to make instant decisions when there is an overflow of information and the individual cannot afford to spend precious time and blood sugar on letting our marvelous neo-cortex analyse and figure it out in a truly human fashion. If we are not trained as individuals to consciously recognize and question the stereotypes our forebearers left us with benevolently, then we cannot help but see the world according to what "sayings" teach us. Ironically, the inquisitive and difference accepting mindset evolves only by personal experience, as illustrated by Ged's journey to greatness.

Le Guin very subtly rubs the readers nose into the stereotype of only the powerful, young, male hero's destiny being to overcome evil. 
Ged's aunt has tangles in her hair - so what? Is she not a powerful witch in the same breath?The Kargs are fair skinned - so what? Does Le Guin not have the right to borrow from Nordic sagas like so many others before and after?  Maybe, just may be, this is a subtle critic of how most other tales are spun? In the Tombs of Atuan, where the story carries on, the hero is Telar, the young priestess, so where is the male dominance then?

About stereotypes I recommend reading 

Tame the Primitive Brain: 28 Ways in 28 Days to Manage the Most Impulsive Behaviors at Work by Mark Bowden

Earthsea/ Fantasy

What are some archetypes (eg. Common character types) of fantasy fiction?

The Wise Teacher: Ogion

Walker (2014) stated that the wiser teacher Often known as a wizard or mage as a fantasy fiction archetype. For some reason the wise teacher is usually male. The wise teacher seems to only give his students or apprentice enough information to help them through obstacles ahead; for example, Dumbledore from Harry Potter – In the movies he helps Harry potter and his friends through their trials by giving only a bit of what they need to know without completely helping them. Perhaps by doing this, the wise teacher, wizard or mage is trying to help his student by giving them a chance to fully realise their potential by completing tasks on their own. However, Ogion also known as the silent wizard allow his apprentice to be free and does not really like to talk much, but does teach GED about the balance of nature and life.

If the Wise Teacher is killed, there is a possibility that he will return unexpectedly.If not, his death will motivate his students (one of whom will likely become the Impulsive Hero) to seek revenge on whichever force of evil it was that killed him". 

Loyal retainers: Vetch

Often called side-kicks, these individuals are somewhat like servants who are heroic themselves. Their duty is to protect the hero/ heroine and reflect his/her nobility. See Hermione Granger and Ron Weasley in the Harry Potter series, and Samwise Gamgee of The Lord of the Rings. 

In the earthsea fantasy fiction Vetch is the only person to properly welcome Ged when he arrives at wizard school and quickly befriends Ged. His loyalty is recognised when he trusts Ged and tell Ged his real wizard name. In earthsea you only tell your wizard name to people you trust. 

The Devil Figure - Dark shadow after Ged

This character is evil incarnate who offers worldly goods, fame or knowledge to the protagonist in exchange for possession of the soul or unbreakable fealty. This character can also be an evil being from the dead wanting to posses a living being.

The dark shadow that was cast by Ged after being dared to with a fellow student to prove which one of them who was more powerful. This dark shadow is a dead spirit who is seeking a body to possess, because it was Ged that bought the spirit from the pits of the dead, the shadow is after Ged.  

The Hero/Heroine - Rebellious Ged

After proving himself (usually by defeating a wild beast or completing a task) marries a princess, becomes king, knight, or warrior of the realm or village. 
He/she is often reared by foster parents, He/she is often reared by foster parents, which is the case of Ged who was not raised by his biological parents

In the earthsea Ged is a bit rebellious and wants to quickly learn magic without. Ged also keeps having the same dream about a girl whom at the beginning, who he is mostly likely needing to save. 

References

Character Archetypes in High Fantasy Literature. (n.d). Retrieved from file:///C:/Users/Guest/Desktop/404-1381-1-SM.pdf

Character analysis, Ogion the silent wizard. (n.d). Retrieved from http://www.shmoop.com/wizard-of-earthsea/ogion.html

Shell Bongares - (Fantasy: Earthsea)

3) How is science fiction different from fantasy, according to Le Guin?

The central message of Le Guin’s comparison between science fiction and fantasy is formed around the idea of plausibility. Since science fiction is a “branch of realism” (Le Guin, 2005, para. 3), there is this unspoken principle that the situation or the landscape where the action of the story is taking place may actually occur in the (very distant) future. At least, quite a diminutive possibility definitely not happening within our lifetime. It is this highly unlikely, but not entirely ludicrous, chance that something like cyborgs and robots having human characteristics can happen centuries into the future. 

I personally really admire and completely relate to what she wrote about the expectations people hold when the story is set in the contemporary world due to the demand for solid facts. Every single detail about the characters within a story, even if it is fictional, must ring true; for example, if the protagonist is an American boy, but he speaks in New Zealand slang using words such as ‘munted’ or ‘nek minute/minnit’, readers or watchers would evidently feel that the content is not authentic. The language a character uses, the mannerisms, even the culture, must all coincide with reality. If it is not, as Le Guin has posited, “[it] will be taken as nonsense” (2005, para. 4). Which is exactly why, she believes, science fiction usually stays within the realms of the distant future rather than incorporating the modern world because of the flexibility this time period provides. 

Unlike fantasy which can virtually fall into any era without seeming ridiculous as the basis of what makes a fictional fantasy piece is already implausible and out of the ordinary. Attebery (1980) extends upon this train of thought wherein fantasy showcases a “straightforward treatment of impossible characters” (p.1). From the use of magic and construction of a wizarding school like that in Le Guin’s (1993) own novel series, Earthsea, with Ged the young mage, and comparably in J.K Rowling’s popularised Harry Potter series with the titular protagonist of the same name. Mythical beasts like dragons and centaurs, and creatures ranging from goblins to dementors (Rowling, 1999), it is evident that none of these elements would ever be seen in reality. To summarise, science fiction has a highly unlikely (though still minuscule possibility in the very distance future) chance it may happen, whereas fantasy will never be legitimately real.

References

Attebery, B. (1980). The Fantasy Tradition in American Literature: From Irving to Le Guin. Bloomington: Indiana University Press.

Le Guin, U. K. (2005). Plausibility revisited: Wha hoppen and what didn't. Retrieved from http://www.ursulakleguin.com/PlausibilityRevisited.html

Le Guin, U. K. (1993). The earthsea quartet. London: Puffin.

Rowling, J. K. (1999). Harry Potter and the prisoner of Azkaban. New York: Scholastic.

Areta 1260549

Genres Edition one

Warriors in the Mist

This story explains about the significant adventure of a child raised in a small lonely Village called Ten Alders of Gont Island where wizards live. There were many other Islands scattered about the four corners of Earthsea. Duny who had self-taught to care for himself, as there was no one to teach him till he turned seven years old, where he heard the voice of a sister of his mother that had given him the opportunity to teach him the power of magic. He accepted and kept his promise that he would tell no one. She had a spell for every circumstance, Vogler (1998) it is here the narratives contains specific details of characters voicing two or more people speaking as archetypes.  Charms, and rhythms of tunes passed down to her from other sorcerers and that the power that he did not recognise was already in him, if only he knew how to use his powers.

The enemy of the Kargad Island a strong empire were sailing towards, Gont Island; they entered their villages looting, killing animals, and people, taking some for slavery. Duny’s father had seen what powers his son had the Kargad tribe were fighting themselves in the thick mist he had created. The Kargads were all killed for the wrong doing, but Duny was still under his own spell, he needed to be released from it. A sorcerer named ‘Ogion’ came out of the forest and released the spell off the boy. Vogler (1998) the two characters as mentioned Duny and Ogion played amazing clips from the book and the movie. Who had asked his father that he would come for Duny that his name will be given and teach him under his guardinance and there, Ogion gave him the name Ged that he was now his master where he will be taught the powers of the dragon.

Edition two

The shadow

This chapter expresses on the challenges of Ged to be taught by master Ogion who, had not spoken one word since his arrival and that he was getting bored and felt nothing was ever happening, although this is part of his training that he did not understand. Ged met a girl of his age, where he had picked blossoms previously and that she knew him by Sparrowhawk. She was impressed in his story of magic, Vogler (1998) the themes and theories showed a lot of great clips and readings of these two Edition.  They saw each other for some time picking flowers she explained to Ged that she would like to see one of his magic tricks he that promise he quickly grabbed the books that Ogion has not taught him Ogion had already signified that is all. And told him to not use his powers till time is ready. They all travelled the seas ending at Roke Island.

This impressive story about the young child called Sparrowhawk played very smartly but willing to be open with one person only.

Your narrative MUST be developed with consideration to a component of, or all of Vogler’s (1998) mythic structure and character archetypes.

 

 Le Guinn, U. (1993; 1968). A Wizard of Earthsea. In The Earthsea Quartet (pp.13-167). London: Penguin.

Deed of Sparrowhwk Retrieved from: https://www.youtube.com/watch?v=t1_9tr4aFuw

Eleanor Nguyen - Comics/Tintin

How might Hergé's The Blue Lotus address or relate to what Said (1977) terms 'orientalism'?

To answer the question above somewhat thoroughly, we must first evaluate the meaning of the term ‘orientalism’. According to the dictionary, the word ‘oriental’ is an adjective that describes anything situated easterly (Oxford Dictionary, 2004). In literature context, when a story is said to have an oriental setting or theme, it can be understood that the story’s theme revolves around the Eastern part of the world. Derived from this idea, orientalism means “the study of Eastern cultures by westerners”, or “the imitation and depiction of aspects of Eastern cultures in the West by writers, designers and artists” (Orientalism, n.d.). According to Edward Said (1977/2003), by having the knowledge about the Eastern territory, the westerners came to own it. Therefore, we can say that Said’s definition of orientalism has a close relationship with imperialism.

The Blue Lotus is not the first Tintin book that incorporates oriental aspects and settings, but it is the most significant in that category. Thanks to the help of Hergé’s Chinese friend TChang Chong-chen, The Blue Lotus was the most visually rich book comparing to all other Tintin books (Weir, personal communication, 2015). It can be said that Hergé researching for the book was an act of orientalism.

Because the oriental setting in the book was still mainly set by a westerner, we can see how Hergé incorporated the theme of imperialism in it. The extract below shows Gibbons - the director of a big American company - beating a Chinese rickshaw driver; the Chinese banners behind him translate to “Abolish unequal treaties” and “Down with Imperialism”. Taking into account the heavily oriental setting of this book, these seemingly juxtaposed banners definitely adds to the satirical tone of the story while also touching on the topic of how Said defined orientalism as being based on imperialism.

Extracted from http://tintinadventures2.tripod.com/id1.html

Reference

Orientalism. [Def. 2]. (2004). In Oxford English Dictionary. Retrieved from http://www.oed.com/view/Entry/132528?redirectedFrom=oriental&

Orientalism (n.d.). Retrieved from http://www.onefineart.com/en/articles_arts/orientalism-painting.shtml

Said, E. (2003). Orientalism. London: Penguin. (Original work published 1977). Retrieved from http://www.odsg.org/Said_Edward(1977)_Orientalism.pdf

Tintin And The Blue Lotus (n.d.). Retrieved from http://tintinadventures2.tripod.com/id1.html

Weir, B. (2015). Hergé, The Blue Lotus from The Adventures of Tintin: Image/ Text/ Animation. [PowerPoint slides]. Retrieved from https://autonline.aut.ac.nz/bbcswebdav/pid-3448984-dt-content-rid-3451450_4/xid-3451450_4