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Fantasy

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This article is about the artistic genre. For other uses, see Fantasy
(disambiguation).
See also: Fantasy literature

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The violet fairy book (1906)


Fantasy
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Fantasy is a genre of fiction set in a fictional universe, often, but not always,
without any locations, events, or people referencing the real world. Its roots are
in oral traditions, which then developed into literature and drama. From the
twentieth century it has expanded further into various media, including film,
television, graphic novels and video games.
Most fantasy uses magic or other supernatural elements as a main plot element,
theme, or setting. Magic and magical creatures are common in many of these worlds.
Fantasy is a subgenre of speculative fiction and is distinguished from the genres
of science fiction and horror by the absence of scientific or macabre themes
respectively, though these genres overlap.
In popular culture, the fantasy genre is predominantly of the medievalist form. In
its broadest sense, however, fantasy comprises works by many writers, artists,
filmmakers, and musicians from ancient myths and legends to many recent and popular
works.
Fantasy is studied in a number of disciplines including English and other language
studies, cultural studies, comparative literature, history and medieval studies.
Work in this area ranges widely from the structuralist theory of Tzvetan Todorov,
which emphasizes the fantastic as a liminal space, to work on the connections
(political, historical and literary) between medievalism and popular culture.[1]
Contents [hide]
1 Traits
2 History
2.1 Early history
2.2 Modern fantasy
3 Media
4 Classification
4.1 By theme (subgenres)
4.2 By the function of the fantastic in the narrative
5 Subculture
6 Related genres
7 See also
8 References
9 External links
Traits[edit]
The identifying trait of fantasy is the author's reliance on imagination to create
narrative elements that do not have to rely on history or nature to be coherent.[2]
This differs from realistic fiction in that whereas realistic fiction has to attend
to the history and natural laws of reality, fantasy does not. An author applies his
or her imagination to come up with characters, plots, and settings that are
impossible in reality. Many fantasy authors use real-world folklore and mythology
as inspiration;[3] and although for many the defining characteristic of the fantasy
genre is the inclusion of supernatural elements, such as magic,[4] this does not
have to be the case. For instance, a narrative that takes place in an imagined town
in the northeastern United States could be considered realistic fiction as long as
the plot and characters are consistent with the history of region and the natural
characteristics that someone who has been to the northeastern United States
expects; when, however, the narrative takes place in an imagined town, on an
imagined continent, with an imagined history and an imagined ecosystem, the work
becomes fantasy with or without supernatural elements.
Fantasy has often been compared with science fiction and horror because they are
the major categories of speculative fiction. Fantasy is distinguished from science
fiction by the plausibility of the narrative elements. A science fiction narrative
is unlikely, though seeming possible through logical scientific or technological
extrapolation, whereas fantasy narratives do not need to be scientifically
possible.[2] The imagined elements of fantasy do not need a scientific explanation
to be narratively functional. Authors have to rely on the readers' suspension of
disbelief, an acceptance of the unbelievable or impossible for the sake of
enjoyment, in order to write effective fantasies. Despite both genres' heavy
reliance on the supernatural, fantasy and horror are distinguishable. Horror
primarily evokes fear through the protagonists' weaknesses or inability to deal
with the antagonists.[5]
History[edit]

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Main article: History of fantasy
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Early history[edit]
Main article: Early history of fantasy
Elements of the supernatural and the fantastic were an element of literature from
its beginning. Fantasy elements occur throughout the ancient Akkadian Epic of
Gilgamesh.[6] Folk tales with fantastic elements intended for adults were a major
genre of ancient Greek literature.[7] The comedies of Aristophanes are filled with
fantastic elements,[8] particularly his play The Birds,[8] in which an Athenian man
builds a city in the clouds with the birds and challenges Zeus's authority.[8]
Ovid's Metamorphoses and Apuleius's The Golden Ass are both works that influenced
the development of the fantasy genre[8] by taking mythic elements and weaving them
into personal accounts.[8] Both works involve complex narratives in which humans
beings are transformed into animals or inanimate objects.[8]
Platonic teachings and early Christian theology are major influences on the modern
fantasy genre.[8] Plato used allegories to convey many of his teachings,[8] and
early Christian writers interpreted both the Old and New Testaments as employing
parables to relay spiritual truths.[8] This ability to find meaning in a story that
is not literally true became the foundation that allowed the modern fantasy genre
to develop.[8]
There are many works where the boundary between fantasy and other works is not
clear; the question of whether the writers believed in the possibilities of the
marvels in A Midsummer Night's Dream or Sir Gawain and the Green Knight makes it
difficult to distinguish when fantasy, in its modern sense, first began.[9]
Modern fantasy[edit]
Although pre-dated by John Ruskin's The King of the Golden River (1841), the
history of modern fantasy literature is usually said to begin with George
MacDonald, the Scottish author of such novels as The Princess and the Goblin and
Phantastes (1858), the latter of which is widely considered to be the first fantasy
novel ever written for adults. MacDonald was a major influence on both J. R. R.
Tolkien and C. S. Lewis. The other major fantasy author of this era was William
Morris, a popular English poet who wrote several novels in the latter part of the
century, including The Well at the World's End.
Despite MacDonald's future influence with At the Back of the North Wind (1871),
Morris's popularity with his contemporaries, and H. G. Wells's The Wonderful Visit
(1895), it was not until the 20th century that fantasy fiction began to reach a
large audience. Lord Dunsany established the genre's popularity in both the novel
and the short story form. Many popular mainstream authors also began to write
fantasy at this time, including H. Rider Haggard, Rudyard Kipling, and Edgar Rice
Burroughs. These authors, along with Abraham Merritt, established what was known as
the "lost world" subgenre, which was the most popular form of fantasy in the early
decades of the 20th century, although several classic children's fantasies, such as
Peter Pan and The Wonderful Wizard of Oz, were also published around this time.
Indeed, juvenile fantasy was considered more acceptable than fantasy intended for
adults, with the effect that writers who wished to write fantasy had to fit their
work in a work for children.[10] Nathaniel Hawthorne wrote fantasy in A Wonder-Book
for Girls and Boys, intended for children,[11] though works for adults only verged
on fantasy. For many years, this and successes such as Alice's Adventures in
Wonderland (1865), created the circular effect that all fantasy works, even the
later The Lord of the Rings, were therefore classified as children's literature.
Political and social trends can affect a society's reception towards fantasy. In
the early 20th century, the New Culture Movement's enthusiasm for Westernization
and science in China compelled them to condemn the fantastical shenmo genre of
traditional Chinese literature. The spells and magical creatures of these novels
were viewed as superstitious and backward, products of a feudal society hindering
the modernization of China. Stories of the supernatural continued to be denounced
once the Communists rose to power, and mainland China experienced a revival in
fantasy only after the Cultural Revolution had ended.[12]
Fantasy was a staple genre of pulp magazines published in the West. In 1923, the
first all-fantasy fiction magazine, Weird Tales, was published. Many other similar
magazines eventually followed, most noticeably The Magazine of Fantasy and Science
Fiction; when it was founded in 1949, the pulp magazine format was at the height of
its popularity, and the magazine was instrumental in bringing fantasy fiction to a
wide audience in both the U.S. and Britain. Such magazines were also instrumental
in the rise of science fiction, and it was at this time the two genres began to be
associated with each other.
By 1950, "sword and sorcery" fiction had begun to find a wide audience, with the
success of Robert E. Howard's Conan the Barbarian and Fritz Leiber's Fafhrd and the
Gray Mouser stories.[13] However, it was the advent of high fantasy, and most of
all J. R. R. Tolkien's The Hobbit and The Lord of the Rings, which reached new
heights of popularity in the late 1960s, that allowed fantasy to truly enter the
mainstream.[14] Several other series, such as C. S. Lewis's Chronicles of Narnia
and Ursula K. Le Guin's Earthsea books, helped cement the genre's popularity.
The popularity of the fantasy genre has continued to increase in the 21st century,
as evidenced by the best-selling status of J. K. Rowling's Harry Potter series or
of George R. R. Martin's Song of Ice and Fire sequence.
Media[edit]
Further information: Fantasy art, Fantasy film, Fantasy television, and Role-
playing game
Several fantasy film adaptations have achieved blockbuster status, most notably The
Lord of the Rings film trilogy directed by Peter Jackson, and the Harry Potter
films, two of the highest-grossing film series in cinematic history. Meanwhile,
David Benioff and D. B. Weiss would go on to produce the television drama series
Game of Thrones for HBO, which has gone on to achieve unprecedented success for the
fantasy genre on television.
Fantasy role-playing games cross several different media. Dungeons & Dragons was
the first tabletop role-playing game and remains the most successful and
influential.[15][16] The science fantasy role-playing game series Final Fantasy has
been an icon of the role-playing video game genre (as of 2012 still among the top
ten best-selling video game franchises). The first collectible card game, Magic:
The Gathering, has a fantasy theme and is similarly dominant in the industry.[17]
Classification[edit]
By theme (subgenres)[edit]
See also: List of genres Fantasy
Fantasy encompasses numerous subgenres characterized by particular themes or
settings, or by an overlap with other literary genres or forms of speculative
fiction. They include the following:
Bangsian fantasy, interactions with famous historical figures in the afterlife,
named for John Kendrick Bangs
Comic fantasy, humorous in tone
Contemporary fantasy, set in the real world but involving magic or other
supernatural elements
Dark fantasy, including elements of horror fiction
Epic fantasy, see "high fantasy" below
Fables, stories with nonhuman characters, leading to "morals" or lessons
Fairy tales themselves, as well as fairytale fantasy, which draws on fairy tale
themes
Fantastic poetry, poetry with a fantastic theme
Fantastique, French literary genre involving supernatural elements
Fantasy of manners, or mannerpunk, focusing on matters of social standing in the
way of a comedy of manners
Gaslamp fantasy, stories in a Victorian or Edwardian setting, influenced by gothic
fiction
Gods and demons fiction (shenmo), involving the gods and monsters of Chinese
mythology
"Grimdark" fiction, a somewhat tongue-in-cheek label for fiction with an especially
violent tone or dystopian themes
Hard fantasy, whose supernatural aspects are intended to be internally consistent
and explainable, named in analogy to hard science fiction
Heroic fantasy, concerned with the tales of heroes in imaginary lands
High fantasy or epic fantasy, characterized by a plot and themes of epic scale
Historical fantasy, historical fiction with fantasy elements
Juvenile fantasy, children's literature with fantasy elements
Low fantasy, characterized by few or non-intrusive supernatural elements, in
contrast to high fantasy
Magic realism, a genre of literary fiction incorporating minor supernatural
elements
Magical girl fantasy, involving young girls with magical powers, mainly in Japanese
anime and manga
Paranormal romance, romantic fiction with fantasy elements
Romantic fantasy, focusing on romantic relationships
Sword and sorcery, adventures of sword-wielding heroes, generally more limited in
scope than epic fantasy
Urban fantasy, set in a city
Weird fiction, macabre and unsettling stories from before the terms "fantasy" and
"horror" were widely used; see also the more modern forms of slipstream fiction and
the New Weird
Wuxia, Chinese martial-arts fiction often incorporating fantasy elements
By the function of the fantastic in the narrative[edit]
In her 2008 book Rhetorics of Fantasy,[18] Farah Mendlesohn proposes the following
taxonomy of fantasy, as "determined by the means by which the fantastic enters the
narrated world",[19] while noting that there are fantasies that fit neither
pattern:
In a "portal-quest fantasy" or "portal fantasy", a fantastical world is entered
through a portal, behind which the fantastic elements of the story remain
contained. These tend to be quest-type narratives, whose main challenge is
navigating the fantastical world.[20] Well-known portal fantasies include C. S.
Lewis's novel The Lion, the Witch and the Wardrobe (1950) and L. Frank Baum's novel
The Wonderful Wizard of Oz (1900).[21]
The "immersive fantasy" lets the reader perceive the fantastical world through the
eyes and ears of the protagonist, without an explanatory narrative. The fictional
world is seen as complete, and its fantastic elements are not questioned within the
context of the story. If successfully done, this narrative mode "consciously
negates the sense of wonder" often associated with speculative fiction. But,
according to Mendlesohn, "a sufficiently effective immersive fantasy may be
indistinguishable from science fiction" because, once assumed, the fantastic
"acquires a scientific cohesion all of its own", which has led to disputes about
how to classify novels such as Mary Gentle's Ash (2000) and China Miville's
Perdido Street Station (2000).[22]
In an "intrusion fantasy", the fantastic intrudes on reality (in contrast to portal
fantasies, where the opposite happens), and the protagonists' engagement with that
intrusion drives the story. Intrusion fantasies are normally realist in style,
because they assume the normal world as their base, and rely heavily on explanation
and description.[23] Immersive and portal fantasies may themselves host intrusions.
Classic intrusion fantasies include Dracula by Bram Stoker (1897) and the works of
H. P. Lovecraft.[24]
"Liminal fantasy", finally, is a relatively rare mode where the fantastic enters a
world that appears to be our own, but this is not perceived as intrusive but rather
as normal by the protagonists, and this disconcerts and estranges the reader. Such
fantasies adopt an ironic, blas tone, as opposed to the straight-faced mimesis of
most other fantasy.[25] Examples include Joan Aiken's stories about the Armitage
family, who are amazed that unicorns appear on their lawn on a Tuesday, rather than
on a Monday.[24]
Subculture[edit]

Avon Fantasy Reader 18


See also: Fantasy fandom
Professionals such as publishers, editors, authors, artists, and scholars within
the fantasy genre get together yearly at the World Fantasy Convention. The World
Fantasy Awards are presented at the convention. The first WFC was held in 1975 and
it has occurred every year since. The convention is held at a different city each
year.
Additionally, many science fiction conventions, such as Florida's FX Show and
MegaCon, cater to fantasy and horror fans. Anime conventions, such as Ohayocon or
Anime Expo frequently feature showings of fantasy, science fantasy, and dark
fantasy series and films, such as Majutsushi Orphen (fantasy), Sailor Moon (urban
fantasy), Berserk (dark fantasy), and Spirited Away (fantasy). Many science
fiction/fantasy and anime conventions also strongly feature or cater to one or more
of the several subcultures within the main subcultures, including the cosplay
subculture (in which people make or wear costumes based on existing or self-created
characters, sometimes also acting out skits or plays as well), the fan fiction
subculture, and the fan video or AMV subculture, as well as the large internet
subculture devoted to reading and writing prose fiction or doujinshi in or related
to those genres.
According to 2013 statistics by the fantasy publisher Tor Books, men outnumber
women by 67% to 33% among writers of historical, epic or high fantasy. But among
writers of urban fantasy or paranormal romance, 57% are women and 43% are men.[26]
Related genres[edit]
Science fiction
Horror
Superhero fiction
Supernatural fiction
Science fantasy
See also[edit]
Fantasy portal
Outline of fantasy
List of fantasy authors
List of fantasy novels
List of fantasy worlds
List of genres
List of high fantasy fiction
List of literary genres
Fantastiquea related but not identical French literary genre
Worldbuilding
References[edit]
Jump up ^ Jane Tolmie, "Medievalism and the Fantasy Heroine", Journal of Gender
Studies, Vol. 15, No. 2 (July 2006), pp. 145158. ISSN 0958-9236
^ Jump up to: a b ed. Edward James and Farah Mendlesohn, Cambridge Companion to
Fantasy Literature, ISBN 0-521-72873-8
Jump up ^ John Grant and John Clute, The Encyclopedia of Fantasy, "Fantasy", p 338
ISBN 0-312-19869-8
Jump up ^ Diana Waggoner, The Hills of Faraway: A Guide to Fantasy, p 10, 0-689-
10846-X
Jump up ^ Charlie Jane Anders. "The Key Difference Between Urban Fantasy and
Horror". io9. Retrieved 11 February 2017.
Jump up ^ Grant, John; Clute, John (1997). "Gilgamesh". The Encyclopedia of
Fantasy. London, England: Palgrave Macmillan. p. 410. ISBN 0-312-19869-8.
Jump up ^ Hansen, William F. (1998). Anthology of Ancient Greek Popular Literature.
Bloomington, Indiana: Indiana University Press. p. 260. ISBN 0-253-21157-3.
^ Jump up to: a b c d e f g h i j Mathews, Richard (2002) [1997]. Fantasy: The
Liberation of Imagination. New York City, New York and London, England: Routledge.
pp. 1114. ISBN 0-415-93890-2.
Jump up ^ Brian Attebery, The Fantasy Tradition in American Literature, p 14, ISBN
0-253-35665-2
Jump up ^ C.S. Lewis, "On Juvenile Tastes", p 41, Of Other Worlds: Essays and
Stories, ISBN 0-15-667897-7
Jump up ^ Brian Attebery, The Fantasy Tradition in American Literature, p 62, ISBN
0-253-35665-2
Jump up ^ Wang, David Dewei (2004). The Monster that is History: History, Violence,
and Fictional Writing in Twentieth-century China. University of California Press.
pp. 264266. ISBN 978-0-520-93724-6.
Jump up ^ L. Sprague de Camp, Literary Swordsmen and Sorcerers: The Makers of
Heroic Fantasy, p 135 ISBN 0-87054-076-9
Jump up ^ Jane Yolen, "Introduction" p vii-viii After the King: Stories in Honor of
J.R.R. Tolkien, ed, Martin H. Greenberg, ISBN 0-312-85175-8
Jump up ^ According to a 1999 survey in the United States, 6% of 12- to 35-year-
olds have played role-playing games. Of those who play regularly, two thirds play
D&D.Dancey, Ryan S. (February 7, 2000). "Adventure Game Industry Market Research
Summary (RPGs)". V1.0. Wizards of the Coast. Retrieved 23 February 2007.
Jump up ^ Products branded Dungeons & Dragons made up over fifty percent of the RPG
products sold in 2005. Hite, Kenneth (March 30, 2006). "State of the Industry 2005:
Another Such Victory Will Destroy Us". GamingReport.com. Archived from the original
on April 20, 2007. Retrieved 21 February 2007. Retrieved from Internet Archive 20
February 2014.
Jump up ^ ICv2 (November 9, 2011). "'Magic' Doubled Since 2008". Retrieved November
10, 2011. For the more than 12 million players around the world [...] Note that the
"twelve million" figure given here is used by Hasbro; while through their
subsidiary Wizards of the Coast they would be in the best position to know through
tournament registrations and card sales, they also have an interest in presenting
an optimistic estimate to the public.
Jump up ^ Mendlesohn, Farah (2008). Rhetorics of Fantasy. Middletown, Conn.:
Wesleyan University Press. ISBN 978-0819568687.
Jump up ^ Mendlesohn, "Introduction"
Jump up ^ Mendlesohn, "Introduction: The Portal-Quest Fantasy"
Jump up ^ Mendlesohn, "Chapter 1"
Jump up ^ Mendlesohn, "Introduction: The Immersive Fantasy"
Jump up ^ Mendlesohn, "Introduction: The Intrusion Fantasy"
^ Jump up to: a b Mendlesohn, "Chapter 3"
Jump up ^ Mendlesohn, "Introduction: The Liminal Fantasy"
Jump up ^ Crisp, Julie (10 July 2013). "SEXISM IN GENRE PUBLISHING: A PUBLISHER'S
PERSPECTIVE". Tor Books. Retrieved 29 April 2015. (See full statistics)
External links[edit]
Look up fantasy in Wiktionary, the free dictionary.
Wikimedia Commons has media related to Fantasy.
The Fantasy Genre Children's Literature Classics
Writing Fantasy: A Short Guide To The Genre
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