1) How is science fiction different from fantasy, according to Le Guinn?
2) How does Attebery (1980) define Fantasy? Find at least five definitions?
3) In what ways does Tax (2002) suggest Earthsea may still be relevant today?
4) What are some archetypes that often recur in fantasy fiction? Give examples from Earthsea and other fantasy works you might know.
5) In what way is The Wizard of Earthsea a ‘coming of age’ novel? Does it escape from the ‘boy’s own adventure’ story? How are Ged’s adventures different from Tintin’s?
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ReplyDeleteFantasy, week 3-4: The Wizard of Earthsea.
Alister Kreft. 17974588.
In studying fantasy fiction it is apparent that defining exactly what classes a work as ‘fantasy‘ is not an easy task. Attebury attempts to use examples as a means of definition, while he says there are standards which most agree would fall under the umbrella of the fantasy genre there are many other related genres and sub-genres which borrow themes and characteristics from classic fantasy fiction and here it becomes difficult to classify what is and is not fantasy. Attebury identifies this as a problem when attempting to define fantasy, he says, “The simpler the definition, the more room it leaves for sub-classification and evaluation.” (Attebury, B. 1980. p. 1)
There are a number of definitions for fantasy put forward in Attebury’s study, not only his own but also those of other distinguished authors. While these definitions are similar, there are notable differences as well. “An overt violation of what is generally accepted as possibility,” (Attebury, B. 1980. p. 1) from W.R. Irwin is a basic definition for fantasy and Attebury expands on this, “any narrative which includes as a significant part of its make-up some violation of what the author clearly believes to be natural law.” (Attebury, B. 1980. p. 1) This definition applies to The Wizard of Earthsea as there is a strong element of magic in the novel which can be used in ways which we know are most impossible, controlling the weather and people shapeshifting are a few examples of this.
C.S. Lewis provides this definition of fantasy,” [fantasy] utilises unconvincing characters and unlikely events but it makes every effort to place them in a mundane, non-fantastic world.” (Attebury, B. 1980. p. 1) Attebury again expands on this idea, “fantasy needs consistency. Reader and writer are committed to maintaining the illusion,” (Attebury, B. 1980. p. 1) and goes on to provide a further definition from E.M. Forster who says readers of fantasy must “pay something extra, to accept not only the conventions of fiction but also the implausibility within those conventions” (Attebury, B. 1980. p. 2). As this applies to The Wizard of Earthsea, Le Guin establishes very early on the presence and importance of magic within the fictitious world of Earthsea, this is where we as readers must ‘pay something extra,’ as we are required to maintain the idea throughout the novel that magic and the rules that govern it are important to the world of Earthsea. The novel begins with Duny(Ged) learning of and developing his magical abilities. These revelations occur in most mundane settings, a small village of little import and a school for mages. As anyone who has been to a small town or attended school will know these are from exciting places but by placing Ged in these places it becomes easier for the reader understand the significance of what Ged learns and helps to maintain the element of fantasy.
Reference list:
Attebury, B. 1980. The fantasy tradition in American literature: from Irving to Le Guin. Bloomington: Indiana University Press, 1980.
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ReplyDeleteThe Wizard of Earthsea
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“Le Guin ‘discovered’ rather than ‘invented’ Earthsea, for she is an ‘explorer’ not an ‘engineer’”. (Hunt & Lenz, 2005). The Wizard of Earthsea follows the life of a courageous protagonist from a faraway town. With his talents in sorcery, insight, and assurance, he is offered a spot in wizard school where his arrogance drives him into oblivion.
According to Chung, (2013), Attebery (1980) describes the fantasy genre as a ‘fuzzy set’, limiting the proper meaning of the term fantasy to work itself. He compares them to specific standard works, assembling a “three layer model… formula, genre and the mode.”. Formula scripts the fundamental form; the genre reconnoitres a broader span, whereas the mode depicts a common desire which can be uncovered in all fictitious forms. Fantasy is often depicted through books, for example, the Lord of the Rings (J.J.R. Tolkien), the Harry Potter franchise (R.K. Rowling), The Mists of Avalon (M. Z. Bradley) and so forth. W.R. Irwin (1976) characterizes fantasy as the Game of the Impossible: A Rhetoric Fantasy. A talk of imagination. “an overt violation of what is generally accepted as possibility… whatever the material, extravagant or seemingly commonplace, presents the persuasive establishment and development of an impossibility…” (Pfaelzer, 1985). This establishes the framework, yet Attebery (1980) additionally features the alteration amongst fantasy and diverse works of fiction.
Attebery (1980) portrays that every one of these statutes and characteristics that are regularly incorporated into fantasy stories that it is essential that these all stay coherent throughout the text to assure the reader demonstrates a similar responsibility. He proceeds on and claims that a fantasy text can be like a diversion wherein one must submerge themself totally and demonstrate an uncompromising acknowledgment of terms of the amusement. Thusly, it regularly remunerates the readers with a getaway from the norms, enabling them to appreciate the wonders of the dreamland. Notwithstanding this, Attebery (1980) recognizes Rabkin's (1976) meaning of what "true fantasy" is, which can be broadly depicted as fantasy that denies itself and it's own narrative as opposed to the world that we live in.
Atterbury claims that direct treatment of the incomprehensible recognizes "fantasy and related genres" (Atterbury, 1980). More reasonable kinds like sci-fi attempt to persuade the group of onlookers that the happenings inside the story are conceivable in our reality. According to Ursula Le Guin (2005), she states "fantasy deliberately violates plausibility in the sense of congruence with the world outside the story". Atterbury discusses how without consistency inside the impossibilities of imagination, the magic amongst the reader and author is ruined. Le Guin consolidates parameters and limitations concerning sorcery that remain constant all through the Wizard of Earthsea.
Atterbury, B. (1980). Locating fantasy In The Fantasy Tradition in American Literature: From Irving to Le Guinn. Bloomington: Indiana U P.
Chung, Y. (2013). Translation and Fantasy Literature in Taiwan: Translators as Cultural brokers and social networkers
Hunt, P., Lenz, M. (2005) Alternative Worlds in Fantasy Fiction
Irwin, R. W. (1976) The Game of the Impossible: a Rhetoric Fantasy
Pfaelzer, J (1985). The Utopian Novel in America, 1886–1896: The Politics of Form
1. What are some archetypes that often recur in fantasy fiction? Give examples from Earthsea and other fantasy works you might know.
ReplyDeleteFantasy has common archetypes which are present in many works of fantasy fiction. Possibly the most common and most relevant archetype that recurs in basically all works of fantasy are the worlds. This is seen in the Wizard of Earthsea with the world being a large archipelago of islands known as Earthsea. Other famous worlds created in fantasy include Tolkein’s Middle Earth, and J.K Rowling’s Wizdaring World which supposedly exists parallel to the real world. Another recurring archetype is of the protagonist who normally seem to be gifted or possess skills or characteristics which allows them to be the ideal protagonist for that certain piece of fantasy fiction. Examples of these are, in Earthsea, Ged was gifted from the very beginning and other examples are Harry being the ‘chosen one’ in Harry Potter and Frodo being pure of heart in LOTR. Wise mentor figures are also a commonly reoccurring archetype in fantasy. They are normally a teacher, mentor of wise old man/woman who helps the protagonist progress in his journey. Ogion in Earthsea was a mentor to Ged, Dumbledore in Harry Potter was a mentor to Harry and Gandalf was somewhat of a mentor/wise figure head for Frodo in LOTR. Also, a nightmare creature is also a recurring archetype in fantasy. They are normally portrayed as being evil and dark and coming from the darkest parts of the world or the mind. The shadow creature from Earthsea is a good example of this as is the Balrog from LOTR and Dementors from Harry Potter. These are just some examples of the few archetypes Fantasy fiction shares similarities in despite not sharing similar narratives.
Allen, M., Bedwell, L., Lewis, J., Thompson, K., Veinot, J., & Walker, B. (2012). Character Archetypes in High Fantasy Literature. YA Hotline, (76).