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26/04/2024

Fantasy is studied in a number of disciplines including English and other language studies, cultural studies, comparative literature, history and medieval studies. Some works make political, historical and literary connections between medievalism and popular culture.[45]

French literature theorists as Tzvetan Todorov argues that the fantastic is a liminal space, characterized by the intrusion of supernatural elements into the realistic framework of a story, accompanied by uncertainty about their existence.[46] However, this precise definition is not the predominant one in English critical literature, and the French term fantastique is used to differentiate the French concept from the broader English term of fantastic, synonym of fantasy. The restrictive definition of Todorov and the difference of critical traditions of each country have led to controversies such as the one led by Stanislaw Lem.[47]

Rosemary Jackson builds onto and challenges as well Todorov's definition of the fantastic in her 1981 nonfiction book Fantasy: The Literature of Subversion. Jackson rejects the notion of the fantastic genre as a simple vessel for wish fulfillment that transcends human reality in worlds presented as superior to our own, instead positing that the genre is inseparable from real life, particularly the social and cultural contexts within which each work of the fantastic is produced. She writes that the "unreal" elements of fantastic literature are created only in direct contrast to the boundaries set by its time period's "cultural order", acting to illuminate the unseen limitations of said boundaries by undoing and recompiling the very structures which define society into something "strange" and "apparently new". In subverting these societal norms, Jackson claims, the fantastic represents the unspoken desire for greater societal change. Jackson criticizes Todorov's theory as being too limited in scope, examining only the literary function of the fantastic, and expands his structuralist theory to fit a more cultural study of the genre—which, incidentally, she proposes is not a genre at all, but a mode that draws upon literary elements of both realistic and supernatural fiction to create the air of uncertainty in its narratives as described by Todorov. Jackson also introduces the idea of reading the fantastic through a psychoanalytical lens, referring primarily to Freud's theory of the unconscious, which she believes is integral to understanding the fantastic's connection to the human psyche

26/04/2024

See also: Fantasy fandom

Avon Fantasy Reader 18
Publishers, editors, authors, artists, and scholars with interest in 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.

24/04/2024

Immersive fantasy
In "immersive fantasy", the fictional world is seen as complete, its fantastic elements are not questioned within the context of the story, and the reader perceives the world through the eyes and ears of viewpoint characters native to the setting. This narrative mode "consciously negates the sense of wonder" often associated with science fiction, according to Mendlesohn. She adds that "a sufficiently effective immersive fantasy may be indistinguishable from science fiction" as the fantastic "acquires a scientific cohesion all of its own". This has led to disputes about how to classify novels such as Mary Gentle's Ash (2000) and China Miéville's Perdido Street Station (2000)

22/04/2024

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.

Fantasy role-playing games cross several different media. Dungeons & Dragons was the first tabletop role-playing game and remains the most successful and influential. 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.[31] Products branded Dungeons & Dragons made up over fifty percent of the RPG products sold in 2005.[32]

The science fantasy role-playing game series Final Fantasy has been an icon of the role-playing video game genre (as of 2012 it was 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

16/04/2024

Many fantasy authors use real-world folklore and mythology as inspiration;[10] and although another defining characteristic of the fantasy genre is the inclusion of supernatural elements, such as magic,[11] this does not have to be the case.

Fantasy has often been compared to 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 seemingly possible through logical scientific or technological extrapolation, where fantasy narratives do not need to be scientifically possible.[9] 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 from one another. Horror primarily evokes fear through the protagonists' weaknesses or inability to deal with the antagonists