Created at 11am, Jun 27
t2ruvaFantasy
0
Exploring Fantasy Literature
Contract ID
NOtJkH_SvOHylGjY6Slh2w_Pv0gfEI5_LOBZZCen1nI
File Type
PDF
Entry Count
493
Embed. Model
jina_embeddings_v2_base_en
Index Type
hnsw

Chapter 1. The Ancient and Modern Dimensions of Fantasy Literature . 11The historical development of modern fantasy literature . . . . . . . . . . . 12Contemporary problems of the modern fantasy genre . . . . . . . . . . . . . 14Subgenres of fantasy fi ction–attempts at classifi cation . . . . . . . . . . . . 20Chapter 2. Fantastic Elements in American Literature Before 1900 . . . . 25Fantastic elements in American literaturebetween the 17th and 19th century . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Fairies in 19th-Century American Literature . . . . . . . . . . . . . . . . . . . . 31Chapter 3. Cartography in (American) Fantasy Literature . . . . . . . . . . . . 37Imaginary maps and the act of sub-creation . . . . . . . . . . . . . . . . . . . . . 37Analyzing and classifying fantastic maps . . . . . . . . . . . . . . . . . . . . . . 41Fantasy map as the channel of communication . . . . . . . . . . . . . . . . . . 46Chapter 4. Religion in Fantasy Literature . . . . . . . . . . . . . . . . . . . . . . . . . 49The Lord of the Rings versus Harry Potter . . . . . . . . . . . . . . . . . . . . . 50Religious elements in fantasy fi ction . . . . . . . . . . . . . . . . . . . . . . . . . . 51Secondary worlds and secondary religions . . . . . . . . . . . . . . . . . . . . . 54Religion in fantasy: allegory or criticism? . . . . . . . . . . . . . . . . . . . . . . 59Chapter 5. Anti-Christian Dimensions of Fantasy Literature . . . . . . . . . . 65Christianity versus the world of faerie . . . . . . . . . . . . . . . . . . . . . . . . . 66Rejection of institutional religion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67Christianity in the role of the antagonist . . . . . . . . . . . . . . . . . . . . . . . 72Chapter 6. Lycanthropy in Fantasy Literature . . . . . . . . . . . . . . . . . . . . . 75Lycanthropy from the mythological, psychological, and socialperspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76Reinvention of lycanthropy in fantasy literature . . . . . . . . . . . . . . . . . 79Chapter 7. Unicorns in Fantasy Literature . . . . . . . . . . . . . . . . . . . . . . . . 89Traditional elements of the unicorn mythos . . . . . . . . . . . . . . . . . . . . . 90The unicorn–reimagined . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92Degradation of the unicorn mythos? . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Bruner and Ware argue that the protagonists desperate search for truth, support, and love does not point to an evil God ( Pullmans Authority), but to a the Heavenly Father who is absent from the narrativeand for whom Pullman is also searching (2007, 153164). All in all, though His Dark Materials generally presents the quest for spiritual enlightenment in a rather disturbing way, the trilogy demonstrates that the fantasy genre can be deeply involved in addressing a range of religious dilemmas ( Freitas and King ix-xxiv).
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While His Dark Materials is a very explicit critique of Christianity, in some fantasy novels Christianity is indirectly criticized when it is presented as something antagonistic to the ctional world and unnecessary for the well-being of its communities.8 For instance, one of the most despicable characters of Jack Vances Lyonesse trilogy (Suldruns Garden, The Green Pearl, and Madouc; 19831989) is Father Umphred, a missionary who comes to the island of Lyonesse in order to build a church and convert the islands pagan inhabitants. Father Umphred nds an avid supporter in Queen Sollace who, encouraged by the priest, pesters King Casmir for money which will allow Umphred not only to build his church, but also to buy some holy relics (perhaps even the Holy Grail). Yet Queen Sollace does not realize that, contrary to his magni cent proclamations about a holy mission, the priest is a cowardly and egoistic man interested only in his own glory. When the evil King Casmir is nally overth
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In the end, he is captured and punished for his lies and hypocrisy with death. Of course, Umphreds presence in the narrative should not be treated as Vances critique of Christianity in general. Yet intentionally or not, the characters that support the Christian faith are either unappealing or morally disputable, while the good and kind protagonists seem not to really care about the new religion (as long as they do not have to deal with Umphred). As a result, Vances Lyonesse is portrayed as a legendary and mythic land where Christianity is not yet fully establishedand apparently not really needed.
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A similar idea appears in Poul Andersons The Broken Sword (1954), a dark fantasy novel set in medieval Europe and immersed in Norse mythology. The novel begins with Orms wish to marry an Englishwoman and his ensuing conversion to Christianity (which is still not widespread among the Danes). However, even after his conversion Orm continues to worship Norse gods, and quite soon he gets rid of the Christian priest. That is why his rst-born son cannot be instantly baptized and, consequently, is stolen by a capricious elf. This episode is only the rst of many events demonstrating the clash between the old realm of pagan worship and the new era of Christianity (interestingly, though elves, trolls, and other creatures of legends generally speak about the 61 62
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