What parallels can you find between A Wizard of Earthsea and the Harry Potter franchise? What other influences does Burn (2005) suggest for Harry Potter?
I didnt really find any parallels between A Wizard of Earthsea and the Harry Potter franchise. Apart from both stories featuring wizards within a magical society, that was pretty much it. For a majority of the time, Burn discussed the likening of Harry Potter and his friends to that of Frodo and his companions in the Lord of The Rings. Both Rowling and Tolkien write about a group of friends who journey to defeat the evil and overcome the fear such evil creates.
The popularity of both texts are the reason Burn explores the interconnectedness each has. Potter books have grown to become a cross-media craze in which 'children's engagment extends across novels, films, computer games, the internet, and a range of merchandise worth of star wars' Burn (2005). He says that we need to think about how different literacies come into play, how they connect, what they have in common and that it is important to consider how these are located in the context of childrens contemporary media cultures.
By focussing on the social purpose Harry Potter has for children, Burn examines the different perspectives one could have on Potter. Essentially, Potter acts the child hero and also offers 'a fantasy of power in a world run by adults' Burn (2005). Burn also notes that Harrys appeal is not universal and that by a certain age, boys beome unhappy with what the character represents. The representation of Harry is explored along with the influences Harry has on children. In terms of representation, there are expectations that Harry will perform as the hero fighting his problems through external actions, however in a certain scene of Harry Potter and the Chamber of Secrets (the one where Harry and Ron are surrounded by Aragog and her family in the Forbidden Forest), Burn notices that Harry does not in fact 'perform' any heroic actions (destroying the spiders) one would assume. He is in fact saved by an enchanted Ford Anglia who speeds through the forest, leading Harry and Ron to safety.
'An explanation for Harry's relative inaction might be that he is generally, at least in the first two books, a mixture of action and vulnerability' Burn (2005). Harry is definitely depicted as the hero, but he heavily relies on his friends for aid on his journey, much like Frodo. It is this vulnerability that seems to appeal to kids (mainly girls) as 'goodness is an essential feature of the character, but they [boys and girls] value it differently. For girls, Harry is recognised as do-gooder for not harming the spiders. Boys on the other hand find Harry's inability to kill the spiders in the book to be weak.
The influence Harry has on kids differs from gender and age. Personally I agree with the perspective that Harrys inability to act was weak, but at the same time I value his lack of action. I find Harry's innocence plays a key role in the story and by not killing the spiders he maintains his naievity of the world. Eventually he becomes desensitized to thought of death but only because he's forced to in order to survive.
Why does the religious right in the US condemn fantasy according to Cockrell (2004)? On what grounds does Cockrell defend fantasy literature, using Harry Potter as an example?
'The border between what is real and what is fantasy is a shifting line that is culturally dependent' Cockrell (2004). In this case, the popular culture of fantasy literature; in particular the Harry Potter books, are fast becoming targeted by conservative parents. Their reason for attacking such a genre of literature is thanks to the belief that J.K. Rowling's books encourage witchcraft and satanism - that her books are not a form of literature but in fact manuals for the dark arts. Another prevailing belief for religious parents is that fantasy equals deceit and to allow such deceit to exist within storytelling will lead to lying and other deceitful behaviour.
Prior to the social attacks on Harry Potter, much of the previous conservative effort was used to censor sex, swear words and anything pertaining to the body. However due to the popularity of Harry Potter, censorship has now moved to the occult. Despite the use of magical characters within other texts (fairy godmother in Cinderella, the Good Witch of the West in The Wizard Of Oz), Potter takes much of the brunt mainly due to his placement within 'our world, making him more of a threat. Rowling has abandoned the realm of high fantasy and laid her story in contemporary England, rather than in the imaginary and medievally flavored otherworld ...' Cockrell (2004). Rowling also suggests that witches and wizards live among us, unseen but here nontheless adding to the fuel of many fundamentalist Christians who find this similar to that of angels or like the voice of Satan 'it is out there, unseen but ready to swallow up the hapless child who can be turned towards its seductive allure, and that it actually works'. Cockrell (2004).
Needless to say Cockrell rises to defend fantasy literature by analysing Rowling's work, searching for truth. But there are many possibilites to this truth, 'if art may make the unreal real, it may also disguise the real as fiction, and teach witchcraft in the guise of fantasy .. the idea that there may be more than one truth is disturbing to those whose religious faith rests on an unchanging world, where facts stay still' Cockrell (2004).
The fact is, Rowling allows Harry Potter to exist in a world that we percieve as real, but how real is our world when the idea that some magical being could walk beside us? Fiction must conform to what one can view as real, and when it does not, fear of the strange arise. Taking into consideration that the fear of paganism runs strong in conservative homes, one can see how Harry Potter would raise alarms. To assume that the monsters and miracles of the bible are literally true would be to also allow the unseen world to exist, creating the sense of vulnerability to supernatural forces.
Cockrell understands how religious groups would condemn fantasy, but she also understands that Harry Potter does not exist for Satanic purpose. '.. this magic lacks a god or a devil at the heart of it .. At the heart instead lies mystery .. Harry frightens only those who want the answers to be the same everytime the question is asked.' Cockrell (2004). In Rowling's world, answers are not required to be the same. After all she does say to her reader from the start: Do not count on anything staying still. This may look like your world, but do not count on it being what you thought it was.
References
Burn, A. (2005). Potter Literacy - from book to game and back again; literature, film, game and cross-media literacy. Papers: Exploration into Children's Literature, Vol 14, No 3
Cockrell, A. (2004). Harry Potter and the Witch Hunters: a social context for the attacks on Harry Potter. The Journal of American Culture, Vol 29, No 1.
Saturday, August 28, 2010
- Week 4 -
- Is Tolkien’s notion of the ‘faery story’ linked to fantasy genre? How closely?
The perception of faery story is closely linked to fantasy genre. I think two genres just have different names because those characters are quite similar. “The diminutive being, elf or fairy, is (I guess) in England largely a sophisticated product of literary fancy” (Tolkien, 1964, p.11). When he notions the faery story and its factors, it is parallel to the fantasy genre notions. The main purpose of the faery story may satire, adventure, morality, and fantasy and that fantasy linked to functions with using an equivalent of imagination which is derived from the perception of unreality of freedom from the domination of observed fact (Tolkien, 1964).
Both faery story and fantasy genre sounds almost same to me in its characteristics and functions. However, in my point of view to audience, faery story is more closely to children and fantasy genre is to young people, older than children.
- How does the fantasy genre related to modern media such as video games?
During last few years, there was a huge boom about Harry Potter series, and now Twilight series in all over world. In Korea, lots of Harry Potter items like video games, books and stationery were sold out immediately. I think the main factor of causing boom is that Harry Potter is related to fantasy genre. Children might interested in fantasy materials, for example, in Harry Potter, students can do everything with their own stick and flying with broomstick. Harry character actions are demonstrated as powerful and decisive hero in the film.
The relation between fantasy genre and modern media is important to each other’s field. For example, Burn states one of the influences of Harry Potter and the Chamber of Secrets are making a hero character. “Constructing a child-hero with whom readers, viewers and players can empathise, as a vulnerable but courageous opponent of assorted monsters, adults, and metaphors for fear of the dark, an admirable character for some of the children, ‘plagued by honour’, but for others, a ‘teacher’s pet’, too good to be really interesting” (Burn, 2005, p. 15). If the children win in the game, they would feel being hero like Harry Potter. The fantasy game can say the way of filling children’s expectations and dreams by being hero instead of just watching film.
Moreover, Burn emphasises the importance of ‘speech’ media literacy. “In narrative terms, this might seem profoundly impoverished; but in game terms, it is entirely normal to work with a ‘restricted language’; and the pleasure lies in the skill of the player to deploy these resources well to meet the challenge of the game” (Burn, 2005, p.8). The language in books and films are indicated quite differently.
References:
Burn, A. (2005). Potter-Literacy – from book to game and back again; literature, film, game and cross-media literacy. Papers: Explorations into Children’s Literature Vol 14, No 3.
Tolkien, J. R. R. (1988; 1964). On Faerie Stories. In Tree and Leaf. London: Unwin Hyman.
The perception of faery story is closely linked to fantasy genre. I think two genres just have different names because those characters are quite similar. “The diminutive being, elf or fairy, is (I guess) in England largely a sophisticated product of literary fancy” (Tolkien, 1964, p.11). When he notions the faery story and its factors, it is parallel to the fantasy genre notions. The main purpose of the faery story may satire, adventure, morality, and fantasy and that fantasy linked to functions with using an equivalent of imagination which is derived from the perception of unreality of freedom from the domination of observed fact (Tolkien, 1964).
Both faery story and fantasy genre sounds almost same to me in its characteristics and functions. However, in my point of view to audience, faery story is more closely to children and fantasy genre is to young people, older than children.
- How does the fantasy genre related to modern media such as video games?
During last few years, there was a huge boom about Harry Potter series, and now Twilight series in all over world. In Korea, lots of Harry Potter items like video games, books and stationery were sold out immediately. I think the main factor of causing boom is that Harry Potter is related to fantasy genre. Children might interested in fantasy materials, for example, in Harry Potter, students can do everything with their own stick and flying with broomstick. Harry character actions are demonstrated as powerful and decisive hero in the film.
The relation between fantasy genre and modern media is important to each other’s field. For example, Burn states one of the influences of Harry Potter and the Chamber of Secrets are making a hero character. “Constructing a child-hero with whom readers, viewers and players can empathise, as a vulnerable but courageous opponent of assorted monsters, adults, and metaphors for fear of the dark, an admirable character for some of the children, ‘plagued by honour’, but for others, a ‘teacher’s pet’, too good to be really interesting” (Burn, 2005, p. 15). If the children win in the game, they would feel being hero like Harry Potter. The fantasy game can say the way of filling children’s expectations and dreams by being hero instead of just watching film.
Moreover, Burn emphasises the importance of ‘speech’ media literacy. “In narrative terms, this might seem profoundly impoverished; but in game terms, it is entirely normal to work with a ‘restricted language’; and the pleasure lies in the skill of the player to deploy these resources well to meet the challenge of the game” (Burn, 2005, p.8). The language in books and films are indicated quite differently.
References:
Burn, A. (2005). Potter-Literacy – from book to game and back again; literature, film, game and cross-media literacy. Papers: Explorations into Children’s Literature Vol 14, No 3.
Tolkien, J. R. R. (1988; 1964). On Faerie Stories. In Tree and Leaf. London: Unwin Hyman.
Friday, August 27, 2010
Week Four!
What parallels can you find between A Wizard of Earthsea and the Harry Potter franchise? What other influences does Burn (2005) suggest for Harry Potter?
There are many parallels between Earthsea and Harry Potter. Just to get the obvious out of the way, there's the magic. More specifically though, is the fact that people are born in to it - you are either born with magic in you, or you are not, and the both of them seem to have some form of genetic connection, as Ged's aunt was a witch, so it may possibly run in the family.
There is also the fact that Ged and Harry didn't have a pleasant childhood; while Ged did have a father, he received none of the warm fuzziness that comes with having a parent....and Harry lived in a cupboard under the stairs for 11 years, so I don't need to say anything else there.
It's also worth noting that both boys had their abilities discovered at around the same age. Granted, Ged was a few years younger, but he didn't go off with Origon until he was 12. I see Dumbledore being very similar to Origon, in the way that he took Harry under his wing, so to speak.
I could go on and on here, as there are so many aspects of both universes that are the same, but two huge ones stood out for me - the fact that there is a special school for magically inclined youths to go to and to learn, and the fact that the 'hero' character is plagued by one specific evil that he and only he can defeat. I actually think that the Shadow and Voldemort are very much the same; the Shadow is part of Ged in the more literal sense, but Voldemort is also part of Harry and this can especially be seen in book 5 where Harry is angsting away about how he and Voldemort are the same, and also there's the fact that Voldemort could so easily get in to his head. The Shadow didn't really need to employ any sort of tact in that area as it was already in Ged's head, because it was Ged.
As for the influences that Burn (2005) discusses, I think it's all pretty spot-on. Folktales, Fairytales, Mythology and other stories have all been used in the creating of Harry Potter. A lot of the characters have their names based in something 'mystical'. Rowling has taken her inspiration from many different sources (some from personal experience, even) and rolled it all together very nicely. Though in saying that, it is painfully obvious that a lot of the Universe isn't exactly entirely original.
How does the fantasy genre relate to modern media such as video games?
Without the fantasy genre I don't believe there would be a single decent video game out on the market today. One can only play so much Doom before one wants to shoot ones self. Fantasy opens up the gates of the imagination and gives way to classics like Sonic (because without the fantasy mentality I don't think anybody would buy in to a little blue rodent, unless they were on drugs), the Legacy of Kain series, or God of War.
I also believe that the mediums do influence each other greatly - I'll take God of War as an example (not out of bias or anything...no, not at all...). The three game series is based on Greek Mythology, but the story behind it is very fantasy strong and follows the archetype to a T; big, hulking hero needs to go on quest but doesn't want to - he goes - he fights (a LOT) - he comes out the better for it in the end. Now, I know this wasn't an original idea, the actual plot of the game is very 'vanilla', however I found out only recently that a lot of it came from the first Clash of the Titans movie that came out in the 80s. That film inspired a lot of the goings on in the game, and in turn practically ALL of the awesome graphics (and some of the one liners, actually) were ripped from the game and used in the new movie that came out this year. It's a constant circle of influence. I've found this to be especially true when Hollywood is running dry on ideas for films, they tend to reach out to the literary community or the gaming community to see what can be adapted to a film. More often than not, it's something fantasy based (if not with the blatant magical element, at least with something that cannot possibly happen in our reality).
There are many parallels between Earthsea and Harry Potter. Just to get the obvious out of the way, there's the magic. More specifically though, is the fact that people are born in to it - you are either born with magic in you, or you are not, and the both of them seem to have some form of genetic connection, as Ged's aunt was a witch, so it may possibly run in the family.
There is also the fact that Ged and Harry didn't have a pleasant childhood; while Ged did have a father, he received none of the warm fuzziness that comes with having a parent....and Harry lived in a cupboard under the stairs for 11 years, so I don't need to say anything else there.
It's also worth noting that both boys had their abilities discovered at around the same age. Granted, Ged was a few years younger, but he didn't go off with Origon until he was 12. I see Dumbledore being very similar to Origon, in the way that he took Harry under his wing, so to speak.
I could go on and on here, as there are so many aspects of both universes that are the same, but two huge ones stood out for me - the fact that there is a special school for magically inclined youths to go to and to learn, and the fact that the 'hero' character is plagued by one specific evil that he and only he can defeat. I actually think that the Shadow and Voldemort are very much the same; the Shadow is part of Ged in the more literal sense, but Voldemort is also part of Harry and this can especially be seen in book 5 where Harry is angsting away about how he and Voldemort are the same, and also there's the fact that Voldemort could so easily get in to his head. The Shadow didn't really need to employ any sort of tact in that area as it was already in Ged's head, because it was Ged.
As for the influences that Burn (2005) discusses, I think it's all pretty spot-on. Folktales, Fairytales, Mythology and other stories have all been used in the creating of Harry Potter. A lot of the characters have their names based in something 'mystical'. Rowling has taken her inspiration from many different sources (some from personal experience, even) and rolled it all together very nicely. Though in saying that, it is painfully obvious that a lot of the Universe isn't exactly entirely original.
How does the fantasy genre relate to modern media such as video games?
Without the fantasy genre I don't believe there would be a single decent video game out on the market today. One can only play so much Doom before one wants to shoot ones self. Fantasy opens up the gates of the imagination and gives way to classics like Sonic (because without the fantasy mentality I don't think anybody would buy in to a little blue rodent, unless they were on drugs), the Legacy of Kain series, or God of War.
I also believe that the mediums do influence each other greatly - I'll take God of War as an example (not out of bias or anything...no, not at all...). The three game series is based on Greek Mythology, but the story behind it is very fantasy strong and follows the archetype to a T; big, hulking hero needs to go on quest but doesn't want to - he goes - he fights (a LOT) - he comes out the better for it in the end. Now, I know this wasn't an original idea, the actual plot of the game is very 'vanilla', however I found out only recently that a lot of it came from the first Clash of the Titans movie that came out in the 80s. That film inspired a lot of the goings on in the game, and in turn practically ALL of the awesome graphics (and some of the one liners, actually) were ripped from the game and used in the new movie that came out this year. It's a constant circle of influence. I've found this to be especially true when Hollywood is running dry on ideas for films, they tend to reach out to the literary community or the gaming community to see what can be adapted to a film. More often than not, it's something fantasy based (if not with the blatant magical element, at least with something that cannot possibly happen in our reality).
Wednesday, August 25, 2010
Week Three
How does Attebury (1980) define Fantasy? Find at least 5 definitions.
Attebury first defines fantasy by naming his favourite works of fiction such as Tolkien 'The Lord of the Rings, Lewis' Narnia and Perelandra books, The Wind in the Willows, the Alice books, The Princess and the Goblin etc .. and says 'perhaps the most satisfying way would be to line up a shelf of books and say "There. That is what I mean by fantasy"' Attebury (1980). However in doing so he realises that the idea of fantasy appears to be rather expansive without the inclusion of gothicism, science fiction and what anyone else may place on their said 'shelf', thus deciding that certain characteristics should be outlined within fantasy so that one could use such a list as a guide in reference.
Expanding on ones reference would also mean to acknowledge the works of two well known fantasy authors and what they believe to be core elements for a fantactical piece. Citing W.R Irwin and J.R.R. Tolkien, Attebury finds a common ground between the two authors on works of fantasy as Irwin believes fantactical pieces are based on 'an overt violation of what is generally accepted as possibility' so long as there is a relative establishment of logic behind the work. Attebury also notes that Tolkien takes the meaning of literal to a new level through a view of exterior reality, only to be later contradicted such as a flying broomstick. One can assume that its a normal, but for it to have the ability to fly would automatically take its position within the fantasy category. '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' Attebury (1980).
'There are various ways a story can proclaim its fantastc nature. It can involve beings whose existence we know to be impossible .. it can revolve around magical objects .. proceed through events .. that violate fundamental assumptions about matter and life' Attebury (1980). Attebury believes that fantasy treats these impossibilities as realities without hesitation or doubt and personally I think he wants readers of the fantasy genre to embrace such nonsensical things as these pieces of literature allow the reader to embrace their imagination; to live, if only temporary, in a world where the bizarre is considered normal and mythical creatures are as common as sparrows; by escaping our notions of 'our intellectual understanding of the workings of the world or to make us believe that such things are under any circumstances true' Attebury (1980.
Using such elements in stories is not primarily exclusive to the fantastic genre as lyric poetry often deals with impossibilities. Science fiction, includes characters of an alien race, fiction utilizes out of the ordinary characters paired with unlikely events. However despite their use of impossibilites, Attebury points out that fantasy needs consistency as both reader and writer must be comitted to maintaining the illusion for the entire course of the fiction. Consequently such fantasist themes are not conventional in sci-fi writing as it often spends much of its time convincing the reader that such impossibilites are explainable if we make an inference about the future based on known facts and observations. Lyric poetry 'often deals with impossibilites, but it generally does so not by asserting their existence in a fictional universe but by treating them as temporary manifestations of states of mind' Attebury (1980). 'Fantasy is a game of sorts, and it demands that one play whole-heartedly, accepting for the moment all rules and turns of the game' as Attebury aptly puts it.
In what ways does Tax (2002) suggest Earthsea may still be relevant today?
'To me, [Ursula] Le Guin is not only one of the purest stylists writing in English but the most transcendently truthful of writers. The books she writes are not true in the way facts are true; they speak to a different kind of truth and satisfy a desire for narrative that is so fundamental it must be in our cells' Tax (2002). The truths that Tax speaks of and the relevance of Earthsea, lie in the timely themes Le Guin uses by writing from her vision of the world. The boundary between life and death, terror from the sky and the difficulty women face from male dominated societies are the most prevalent in Le Guin's perspective, exposing the core fears 'which deal with the inner life' Tax (2002).
Comparing her success to that of J.K Rowling's Harry Potter books, Tax comes to the conclusion that the culture of Rowling's books are simply a reflection of English schoolboy culture. 'It's a great story, but you can only be a nine days' wonder once. After the novelty wears off, the commercial pressure remains; you are expected to do the same thing again and again and again, varying it no more than one flavour of yoghurt varies from another. Do you stay faithful to the inner voice or turn yourself into a marketable commodity, producing a new product of the same kind every year or two?' Tax (2002). This is why Tax suggests 'Tales From Earthsea' is a cause for celebration as Le Guin is doing something different. Her aloofness with the commercial industry are what keeps Le Guin on edge.
By going her own way, Le Guin's books have never been predictable or commercially motivated. Her reasonings for avoiding commodification -- 'all times are changing times, but ours is one of massive, rapid moral and mental transformation ... its unsettling ... we long for the unalterable ... so people turn to the realms of fantasy for stability, ancient truths, immutable simplicities .. Commodified fantasy takes no risk; it invents nothing, but imitates and trivializes ... The passionately conceived ideas of the great story-tellers are copied .. advertised, sold, broken, junked, replaceable, interchangeable.'
Le Guin is the kind of writer businessman despise. She produces challenging undpredictable books whose meanings cannot be easily controlled due to its social themes. Nevertheless, her books are 'profoundly radical' Tax (2002), because they allow the reader to consider ideas outside the realistic box, to remember the forgotten childhood contemplations, unrecognised forms of heroism and secret challenges to power. 'Softly, elusively, they tear away at the wall of stones that keeps us in the dry land, the arid land of adulthood, th land of death-in-life, where so many of us spend so much of our time; they let the wind into our imaginations, and help to set us free.' Tax (2002).
References
Attebury, B. (1980). Locating fantasy. In the Fantasy Tradition in American Literature: From Irving to Le Guinn (pp.2-9). Bloomington: Indiana U P, 1980.
Tax, M. (Jan 28, 2002). Year of Harry Potter, Enter the Dragon. In The Nation.
Attebury first defines fantasy by naming his favourite works of fiction such as Tolkien 'The Lord of the Rings, Lewis' Narnia and Perelandra books, The Wind in the Willows, the Alice books, The Princess and the Goblin etc .. and says 'perhaps the most satisfying way would be to line up a shelf of books and say "There. That is what I mean by fantasy"' Attebury (1980). However in doing so he realises that the idea of fantasy appears to be rather expansive without the inclusion of gothicism, science fiction and what anyone else may place on their said 'shelf', thus deciding that certain characteristics should be outlined within fantasy so that one could use such a list as a guide in reference.
Expanding on ones reference would also mean to acknowledge the works of two well known fantasy authors and what they believe to be core elements for a fantactical piece. Citing W.R Irwin and J.R.R. Tolkien, Attebury finds a common ground between the two authors on works of fantasy as Irwin believes fantactical pieces are based on 'an overt violation of what is generally accepted as possibility' so long as there is a relative establishment of logic behind the work. Attebury also notes that Tolkien takes the meaning of literal to a new level through a view of exterior reality, only to be later contradicted such as a flying broomstick. One can assume that its a normal, but for it to have the ability to fly would automatically take its position within the fantasy category. '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' Attebury (1980).
'There are various ways a story can proclaim its fantastc nature. It can involve beings whose existence we know to be impossible .. it can revolve around magical objects .. proceed through events .. that violate fundamental assumptions about matter and life' Attebury (1980). Attebury believes that fantasy treats these impossibilities as realities without hesitation or doubt and personally I think he wants readers of the fantasy genre to embrace such nonsensical things as these pieces of literature allow the reader to embrace their imagination; to live, if only temporary, in a world where the bizarre is considered normal and mythical creatures are as common as sparrows; by escaping our notions of 'our intellectual understanding of the workings of the world or to make us believe that such things are under any circumstances true' Attebury (1980.
Using such elements in stories is not primarily exclusive to the fantastic genre as lyric poetry often deals with impossibilities. Science fiction, includes characters of an alien race, fiction utilizes out of the ordinary characters paired with unlikely events. However despite their use of impossibilites, Attebury points out that fantasy needs consistency as both reader and writer must be comitted to maintaining the illusion for the entire course of the fiction. Consequently such fantasist themes are not conventional in sci-fi writing as it often spends much of its time convincing the reader that such impossibilites are explainable if we make an inference about the future based on known facts and observations. Lyric poetry 'often deals with impossibilites, but it generally does so not by asserting their existence in a fictional universe but by treating them as temporary manifestations of states of mind' Attebury (1980). 'Fantasy is a game of sorts, and it demands that one play whole-heartedly, accepting for the moment all rules and turns of the game' as Attebury aptly puts it.
In what ways does Tax (2002) suggest Earthsea may still be relevant today?
'To me, [Ursula] Le Guin is not only one of the purest stylists writing in English but the most transcendently truthful of writers. The books she writes are not true in the way facts are true; they speak to a different kind of truth and satisfy a desire for narrative that is so fundamental it must be in our cells' Tax (2002). The truths that Tax speaks of and the relevance of Earthsea, lie in the timely themes Le Guin uses by writing from her vision of the world. The boundary between life and death, terror from the sky and the difficulty women face from male dominated societies are the most prevalent in Le Guin's perspective, exposing the core fears 'which deal with the inner life' Tax (2002).
Comparing her success to that of J.K Rowling's Harry Potter books, Tax comes to the conclusion that the culture of Rowling's books are simply a reflection of English schoolboy culture. 'It's a great story, but you can only be a nine days' wonder once. After the novelty wears off, the commercial pressure remains; you are expected to do the same thing again and again and again, varying it no more than one flavour of yoghurt varies from another. Do you stay faithful to the inner voice or turn yourself into a marketable commodity, producing a new product of the same kind every year or two?' Tax (2002). This is why Tax suggests 'Tales From Earthsea' is a cause for celebration as Le Guin is doing something different. Her aloofness with the commercial industry are what keeps Le Guin on edge.
By going her own way, Le Guin's books have never been predictable or commercially motivated. Her reasonings for avoiding commodification -- 'all times are changing times, but ours is one of massive, rapid moral and mental transformation ... its unsettling ... we long for the unalterable ... so people turn to the realms of fantasy for stability, ancient truths, immutable simplicities .. Commodified fantasy takes no risk; it invents nothing, but imitates and trivializes ... The passionately conceived ideas of the great story-tellers are copied .. advertised, sold, broken, junked, replaceable, interchangeable.'
Le Guin is the kind of writer businessman despise. She produces challenging undpredictable books whose meanings cannot be easily controlled due to its social themes. Nevertheless, her books are 'profoundly radical' Tax (2002), because they allow the reader to consider ideas outside the realistic box, to remember the forgotten childhood contemplations, unrecognised forms of heroism and secret challenges to power. 'Softly, elusively, they tear away at the wall of stones that keeps us in the dry land, the arid land of adulthood, th land of death-in-life, where so many of us spend so much of our time; they let the wind into our imaginations, and help to set us free.' Tax (2002).
References
Attebury, B. (1980). Locating fantasy. In the Fantasy Tradition in American Literature: From Irving to Le Guinn (pp.2-9). Bloomington: Indiana U P, 1980.
Tax, M. (Jan 28, 2002). Year of Harry Potter, Enter the Dragon. In The Nation.
Tuesday, August 24, 2010
Week 3
How has fantasy as a genre been defined? Find at least five formative definitions in Attebery
(1980).
Attebery (1980) has made it very clear that fantasy as a genre cannot be defined by just the one thing; its definition is made up from many small things, each on their own rather insignificant, however together they form the basis for what fantasy truly is. These rules (as I like to call them, because every fantasy novel, movie, comic or whatever has its own set of rules) give something intangible a working definition - something by which it can be named, measured and categorised by.
The first thing Atterbery mentions is that for something to be classed as fantasy, a "significant part of its make-up" needs to be in violation of what the author knows to be real. Taking Harry Potter as an example, J. K. Rowling knows for a fact that wizards don't exist (or at least I really hope this is the case, lol), but she writes about them anyway. This is an aspect of fantasy. Though in saying that one could argue that the CSI TV series are also fantasy - I attended a lecture at Auckland University once where a forensic psychologist spoke to us about how UNlike TV his job was. He told us that the only real crime scene he had to attend was a fire at his own home! The writers know that life isn't that dramatic (and that nobody needs to be taking their sun glasses on and off every five seconds), but they write it anyway. Though, to me at least, CSI can not be classed under the fantasy genre, even though it meets one of the criteria.
Creating a sense of wonder was another aspect of the true fantasy genre, that Atterbery noted (bye bye CSI). He uses the Alice in Wonderland books as an example, which I find ironic (Wonderland...wonder. Get it?), but he does have a point - the world of Wonderland is so fantastical and awesome that it really couldn't fit in to any other genre that we have. I know I'll never look at a white rabbit without thinking "Where's the waist coat and nifty watch!?" - privately, of course. Tales such as Lord of the Rings and the Chronicles of Narnia just blow my mind with the detail in them, and just how different they are from the hum-drum of our normal life. If a talking lion isn't something to be wondered at, I don't know what is.
Atterbery mentions folklore or 'fairytales' as something that can be classed as fantasy. Of course not all fantasy is a fairytale, but all fairytales are fantasy - a lot of them begin in fact, however. Just think about this; you catch a fish that's about 5cm long. No biggie. But 20 years later, when you are telling your kids about it, it took your three hours to reel in and was twenty feet long. I think basic facts can be twisted in to something fanciful. How did Tolkin put it? "Fact became legend, legend became myth" or something like that. The point is, all you really need to do it pick up a Disney movie to get the point; Sleeping Beauty, Snowhite and the Seven Dwarfs, Cinderella....they are all based off folk tales, but are now cherished fantasy stories.
Creating a world unto its own, with its own laws, was another thing that Atterbery touched on. You only need to look at the Hogwarts Universe to know that it exists in its own little bubble of magicey goodness - it does follow its own rules, though. The same as Middle Earth follows its own rules. Said rules normally consist of: nobody is TOTALLY perfect and immortal and unharmable, there is ALWAYS an attractive woman involved at some point, and the funny one always gets it.
Finally, I do like the fact that Atterbery mentions the darker side to fairytales. I'm going to use the Brother's Grimm as an example for this one. Lets all think of Hansel and Gretel, shall we? Starving young children and using them for slave labour, then burning an old woman alive in her own oven? I'm going to take a guess here, and say that's pretty dark stuff. Granted not all fantasy has to be dark and twisty, nor is everything dark and twisty always fantasy, but I think the good stuff is.
I'll leave you with Goldie Locks and the Three Bears - nothing says STAY OUT OF MY HOUSE like tearing someone to pieces for eating your porridge. ^_^
How is science fiction different from
fantasy, according to Le Guinn (http://www.ursulakleguin.com/ PlausibilityinFantasy.html)?
I don't actually think that the webpage listed for us to look at really answered this question (unless I totally missed the point of it) as it doesn't really mention anything about sci fi at all. It does say that for fantasy to be plausable it needs to have a world that exists well outside of what is presented to us, but my biggest problem with this is Star Wars - it's a sci fi, there's no question about that, however the Star Wars universe exists outside of the movies. It has a history and events that occur that are not shown to us, so that falls in to both catergories, according to what Le Guinn said in that letter.
My personal opinion is that there's not much difference at all, really. Sci fi involves technology and straight out fantasy does not. That's the only major difference between them as far as I am concerned.
(1980).
Attebery (1980) has made it very clear that fantasy as a genre cannot be defined by just the one thing; its definition is made up from many small things, each on their own rather insignificant, however together they form the basis for what fantasy truly is. These rules (as I like to call them, because every fantasy novel, movie, comic or whatever has its own set of rules) give something intangible a working definition - something by which it can be named, measured and categorised by.
The first thing Atterbery mentions is that for something to be classed as fantasy, a "significant part of its make-up" needs to be in violation of what the author knows to be real. Taking Harry Potter as an example, J. K. Rowling knows for a fact that wizards don't exist (or at least I really hope this is the case, lol), but she writes about them anyway. This is an aspect of fantasy. Though in saying that one could argue that the CSI TV series are also fantasy - I attended a lecture at Auckland University once where a forensic psychologist spoke to us about how UNlike TV his job was. He told us that the only real crime scene he had to attend was a fire at his own home! The writers know that life isn't that dramatic (and that nobody needs to be taking their sun glasses on and off every five seconds), but they write it anyway. Though, to me at least, CSI can not be classed under the fantasy genre, even though it meets one of the criteria.
Creating a sense of wonder was another aspect of the true fantasy genre, that Atterbery noted (bye bye CSI). He uses the Alice in Wonderland books as an example, which I find ironic (Wonderland...wonder. Get it?), but he does have a point - the world of Wonderland is so fantastical and awesome that it really couldn't fit in to any other genre that we have. I know I'll never look at a white rabbit without thinking "Where's the waist coat and nifty watch!?" - privately, of course. Tales such as Lord of the Rings and the Chronicles of Narnia just blow my mind with the detail in them, and just how different they are from the hum-drum of our normal life. If a talking lion isn't something to be wondered at, I don't know what is.
Atterbery mentions folklore or 'fairytales' as something that can be classed as fantasy. Of course not all fantasy is a fairytale, but all fairytales are fantasy - a lot of them begin in fact, however. Just think about this; you catch a fish that's about 5cm long. No biggie. But 20 years later, when you are telling your kids about it, it took your three hours to reel in and was twenty feet long. I think basic facts can be twisted in to something fanciful. How did Tolkin put it? "Fact became legend, legend became myth" or something like that. The point is, all you really need to do it pick up a Disney movie to get the point; Sleeping Beauty, Snowhite and the Seven Dwarfs, Cinderella....they are all based off folk tales, but are now cherished fantasy stories.
Creating a world unto its own, with its own laws, was another thing that Atterbery touched on. You only need to look at the Hogwarts Universe to know that it exists in its own little bubble of magicey goodness - it does follow its own rules, though. The same as Middle Earth follows its own rules. Said rules normally consist of: nobody is TOTALLY perfect and immortal and unharmable, there is ALWAYS an attractive woman involved at some point, and the funny one always gets it.
Finally, I do like the fact that Atterbery mentions the darker side to fairytales. I'm going to use the Brother's Grimm as an example for this one. Lets all think of Hansel and Gretel, shall we? Starving young children and using them for slave labour, then burning an old woman alive in her own oven? I'm going to take a guess here, and say that's pretty dark stuff. Granted not all fantasy has to be dark and twisty, nor is everything dark and twisty always fantasy, but I think the good stuff is.
I'll leave you with Goldie Locks and the Three Bears - nothing says STAY OUT OF MY HOUSE like tearing someone to pieces for eating your porridge. ^_^
How is science fiction different from
fantasy, according to Le Guinn (http://www.ursulakleguin.com/ PlausibilityinFantasy.html)?
I don't actually think that the webpage listed for us to look at really answered this question (unless I totally missed the point of it) as it doesn't really mention anything about sci fi at all. It does say that for fantasy to be plausable it needs to have a world that exists well outside of what is presented to us, but my biggest problem with this is Star Wars - it's a sci fi, there's no question about that, however the Star Wars universe exists outside of the movies. It has a history and events that occur that are not shown to us, so that falls in to both catergories, according to what Le Guinn said in that letter.
My personal opinion is that there's not much difference at all, really. Sci fi involves technology and straight out fantasy does not. That's the only major difference between them as far as I am concerned.
Monday, August 23, 2010
Week 4
How does Tolkien (1964) define fantasy? Compare and contrast this to the other definitions from last week’s reader?
Tolkien (1988; 1964) describes fantasy as the highest form of art, and if done well, the most powerful. He explains that fantasy deals with ideas, physical objects or beings that do not exist within our own reality, and is primarily defined by being unlike our own world (Tolkien, 1988; 1964). This definition matches what Attebury (1980) discussed in last week's reader, when he describes fantasy as having attributes that are not known to exist or are physically impossible in our own world.
Tolkien (1988; 1964) felt that fantasy came naturally to human beings, and that in making fantasy we are able to use our imaginations whilst at the same time, still adhering to human reason. In fact, the more logic we can obtain is creating a fantasy narrative, the clearer and more creative the fantasy will be (Tolkien, 1988; 1964). In contrast, in last week’s reader, Le Guin (2005) states that the more coherent a fantasy story is, the more plausible it will seem to the reader or viewer.
Why does the religious right in the US condemn fantasy, according to Cockrell (2004)? On what grounds does Cockrell defend fantasy literature, using Harry Potter as an example?
According to Cockrell (2004), the religious right in the US think that fantasy is deceitful, and that it will cause their children to participate in deceitful behaviour. Surely these people don’t want their children to watch documentaries, if they really want entertainment completely based in our own reality? They also say that Harry Potter teaches people witchcraft, by concealing it as entertainment, and that Harry’s scar is a satanic ‘S’ (Cockrell, 2004). Cockrell (2004) suggests that the reason why fundamentalist Christians are so offended by Harry Potter is because it is low fantasy, meaning that the story begins in our own world, which makes it seem like more of a threat. They may view this as a threat because it is harder to separate this magical world that has been created in the book from our own reality (Cockrell, 2004). Even if we are looking at such books as Tolkien’s The Lord of the Rings, which is considered high fantasy, this is less offensive because Tolkien is not trying to fit in their world (Middle Earth) with our own.
Because fantasy is so at odds with the real world, and thus is at odds with what we know to be true, there will always be people who are disturbed and outraged but these fantastical worlds that have been created. Even though most children fantasies have a tendency towards moralistic messages and warn children against use of evil magic, there are still people within the Christian right that read something into these films or books that simply are not present (Cockrell, 2004). Using an example from Harry Potter and The Philosophers Stone, Cockrell (2004) states that people cannot stop their children from experiencing this magic dimension anymore than the Dursleys could stop Harry from getting his letters from Hogwarts.
References
Attebery, B. (1980). Locating the Fantasy. In The fantasy tradition in American literature: From Irving to Le Guinn (pp.2-9). Bloomington: Indiana University Press.
Cockrell, A. (2004). Harry Potter and the Witch Hunters: A social context for the attacks on Harry Potter. The Journal of American Culture, 29(1), 24-30. doi:10.1111/j.1542-734X.2006.00272.x
Le Guin, U. (2005). Ursula K. Le Guin: Plausibility Revisited. Wha Hoppen and What Didn’t. Retrieved from http://www.ursulakleguin.com/PlausibilityRevisited.html
Tolkien, J. R. R. (1988; 1964). On Faerie Stories. In Tree and Leaf. London: Unwin Hyman.
Tolkien (1988; 1964) describes fantasy as the highest form of art, and if done well, the most powerful. He explains that fantasy deals with ideas, physical objects or beings that do not exist within our own reality, and is primarily defined by being unlike our own world (Tolkien, 1988; 1964). This definition matches what Attebury (1980) discussed in last week's reader, when he describes fantasy as having attributes that are not known to exist or are physically impossible in our own world.
Tolkien (1988; 1964) felt that fantasy came naturally to human beings, and that in making fantasy we are able to use our imaginations whilst at the same time, still adhering to human reason. In fact, the more logic we can obtain is creating a fantasy narrative, the clearer and more creative the fantasy will be (Tolkien, 1988; 1964). In contrast, in last week’s reader, Le Guin (2005) states that the more coherent a fantasy story is, the more plausible it will seem to the reader or viewer.
Why does the religious right in the US condemn fantasy, according to Cockrell (2004)? On what grounds does Cockrell defend fantasy literature, using Harry Potter as an example?
According to Cockrell (2004), the religious right in the US think that fantasy is deceitful, and that it will cause their children to participate in deceitful behaviour. Surely these people don’t want their children to watch documentaries, if they really want entertainment completely based in our own reality? They also say that Harry Potter teaches people witchcraft, by concealing it as entertainment, and that Harry’s scar is a satanic ‘S’ (Cockrell, 2004). Cockrell (2004) suggests that the reason why fundamentalist Christians are so offended by Harry Potter is because it is low fantasy, meaning that the story begins in our own world, which makes it seem like more of a threat. They may view this as a threat because it is harder to separate this magical world that has been created in the book from our own reality (Cockrell, 2004). Even if we are looking at such books as Tolkien’s The Lord of the Rings, which is considered high fantasy, this is less offensive because Tolkien is not trying to fit in their world (Middle Earth) with our own.
Because fantasy is so at odds with the real world, and thus is at odds with what we know to be true, there will always be people who are disturbed and outraged but these fantastical worlds that have been created. Even though most children fantasies have a tendency towards moralistic messages and warn children against use of evil magic, there are still people within the Christian right that read something into these films or books that simply are not present (Cockrell, 2004). Using an example from Harry Potter and The Philosophers Stone, Cockrell (2004) states that people cannot stop their children from experiencing this magic dimension anymore than the Dursleys could stop Harry from getting his letters from Hogwarts.
References
Attebery, B. (1980). Locating the Fantasy. In The fantasy tradition in American literature: From Irving to Le Guinn (pp.2-9). Bloomington: Indiana University Press.
Cockrell, A. (2004). Harry Potter and the Witch Hunters: A social context for the attacks on Harry Potter. The Journal of American Culture, 29(1), 24-30. doi:10.1111/j.1542-734X.2006.00272.x
Le Guin, U. (2005). Ursula K. Le Guin: Plausibility Revisited. Wha Hoppen and What Didn’t. Retrieved from http://www.ursulakleguin.com/PlausibilityRevisited.html
Tolkien, J. R. R. (1988; 1964). On Faerie Stories. In Tree and Leaf. London: Unwin Hyman.
Sunday, August 22, 2010
Week Four
How does the fantasy genre relate to modern media such as video games?
In terms of representation, Burn talks about how we as readers have our own perceptions or expectations of what a hero is. With a sequence taken from Harry Potter and the Chamber of Secrets, he analyses Harry potters’ actions and compares them with other media (film and game).
Our expectations of a hero aren’t met by Harry Potter in this sequence because all he did was spin around “...he reached for his wand...he tried to stand...diving into the back seat...” Burn (2005) Therefore, these actions don’t complete the function of a hero! The real hero in this case is Ford Anglia (the car), of this Burn says “the real hero of the episode...is the Ford Anglia, which is responsible for the sounding of ‘a loud, long note’ and the flaming of a ‘blaze of light’; which thunders down the slope, knocks spiders out of the way” Burn (2005).
In relation to the game, Harry Potter is more heroic because he has to fight off Aragog and her children that is of course if the player has the skills to do so. So in my opinion if you lose the game or the level you’re on, Harry Potter basically becomes a weakling, whereas if you win, he meets our expectations of a hero from our playing abilities/skills.
Burn also talks about how grammar relates to both fantasy genre (narrative terms) and video games. For narrative terms you have the text there for you to read, but in game terms, the control keys are literally its grammar. “In narrative terms, this might seem profoundly impoverished; but in game terms, it is entirely normal to work with a ‘restricted language’... and the pleasure lies in the skill of the player to deploy those resources well to meet the challenges of the game”. Burn (2005)
Why does the religious right in the US condemn fantasy, according to Cockrell (2004)?
There are many religions that have their own differences on what may be considered fantasy. Some of these religions have started warning parents through the internet of some of the dangers this series of Harry Potter books could do to their children. For example, Cockrell (2005) states that “In 2001, exposingsatanism.org saw a satanic “S” in Harry’s scar” he also draw from another website that says “Harry Potter books encourage children to be rebel against their parents, to question their values and to assume power for themselves”.
Reference List
Burn, A. (2005). Potter-Literacy – from book to game and back again; literature, film, game and cross-media literacy. Papers: Explorations into Children’s Literature Vol 14, No 3.
Cockrell, A. (2004). Harry Potter and the Witch Hunters: a social context for the attacks on Harry Potter. The Journal of American Culture, Vol 29, No 1.
In terms of representation, Burn talks about how we as readers have our own perceptions or expectations of what a hero is. With a sequence taken from Harry Potter and the Chamber of Secrets, he analyses Harry potters’ actions and compares them with other media (film and game).
Our expectations of a hero aren’t met by Harry Potter in this sequence because all he did was spin around “...he reached for his wand...he tried to stand...diving into the back seat...” Burn (2005) Therefore, these actions don’t complete the function of a hero! The real hero in this case is Ford Anglia (the car), of this Burn says “the real hero of the episode...is the Ford Anglia, which is responsible for the sounding of ‘a loud, long note’ and the flaming of a ‘blaze of light’; which thunders down the slope, knocks spiders out of the way” Burn (2005).
In relation to the game, Harry Potter is more heroic because he has to fight off Aragog and her children that is of course if the player has the skills to do so. So in my opinion if you lose the game or the level you’re on, Harry Potter basically becomes a weakling, whereas if you win, he meets our expectations of a hero from our playing abilities/skills.
Burn also talks about how grammar relates to both fantasy genre (narrative terms) and video games. For narrative terms you have the text there for you to read, but in game terms, the control keys are literally its grammar. “In narrative terms, this might seem profoundly impoverished; but in game terms, it is entirely normal to work with a ‘restricted language’... and the pleasure lies in the skill of the player to deploy those resources well to meet the challenges of the game”. Burn (2005)
Why does the religious right in the US condemn fantasy, according to Cockrell (2004)?
There are many religions that have their own differences on what may be considered fantasy. Some of these religions have started warning parents through the internet of some of the dangers this series of Harry Potter books could do to their children. For example, Cockrell (2005) states that “In 2001, exposingsatanism.org saw a satanic “S” in Harry’s scar” he also draw from another website that says “Harry Potter books encourage children to be rebel against their parents, to question their values and to assume power for themselves”.
Reference List
Burn, A. (2005). Potter-Literacy – from book to game and back again; literature, film, game and cross-media literacy. Papers: Explorations into Children’s Literature Vol 14, No 3.
Cockrell, A. (2004). Harry Potter and the Witch Hunters: a social context for the attacks on Harry Potter. The Journal of American Culture, Vol 29, No 1.
Saturday, August 21, 2010
- Week 3 -
- How has fantasy as a genre been defined? Find at least 5 formative definitions in Attebery (1980).
Fantasy is a one of the genre in English literature which can be defined as a fancy novel. Impossible happens could become possible and it feels like a real to people. There is the number of definitions of fantasy genre in Attebery’s writing.
First of all, Attebery uses W. R. Irwin’s view that fantasy is a clear violation of normal happens which is commonly acceptable events as possibility. Fantasy predicts a view of external actuality which is contradiction feature of internal reality. Irwin has pointed fantasy as the form of imagination and daydream. Moreover, according to Attebery (1980), any narration which positions an important part of the work and the author thinks to be natural law that is fantasy. “Fantasy treats these impossibilities without hesitation, without doubt, without any attempt to reconcile them with our intellectual understanding of the workings of the world or to make us believe that such things could under any circumstances come true” (Attebery, 1980, p.3). Lastly, fantasy is a kind of game and it requires that one play whole-heartedly, plausible for the moment all laws and turns of the game (Attebery, 1980).
- How is science fiction different from fantasy, according to Le Guinn (http://www.ursulakleguin.com/PlausibilityRevisited.html)?
Science fiction is closely related to realism because it is based on the real facts. Most science fiction is plausibility and makes the created world depended on actual and factual outside the story (Le Guinn, 2005). I think that is why we can feel more realistic and think those happens are probable and possible. “In general, science fiction proceeds just as realistic fiction do, meeting conventional expectations of how people generally act, and either avoiding events that will strike the reader as improbable, or plausibly explaining them” (Le Guinn, 2005).
On the other hand, the characteristics of fantasy are far from the realism because the imagination is the basis. As Le Guinn explains that the actions characters in fantasy meets conventional expectation as same as science fiction, but those characters in fantasy can also be nonhuman creatures which follows unpredicted ways.
In my opinion, both science fiction and fantasy genres have different attractive characteristics. Science fiction is based on the real facts so I can feel and imagine that situations in fiction can be real happened someday in the future. However, in fantasy literature, I can imagine and presuppose the future in my ways and the most interesting thing is that makes impossible things to be possible !
References:
Attebery, B. (1980). Locating the Fantasy. In The fantasy tradition in American literature: From Irving to Le Guinn (pp.2-9). Bloomington: Indiana University Press.
Le Guin, U. (2005). Ursula K. Le Guin: Plausibility Revisited. Wha Hoppen and What Didin’t. Retrieved 8, August, 2010 from http://www.ursulakleguin.com/PlausibilityRevisited.html
Fantasy is a one of the genre in English literature which can be defined as a fancy novel. Impossible happens could become possible and it feels like a real to people. There is the number of definitions of fantasy genre in Attebery’s writing.
First of all, Attebery uses W. R. Irwin’s view that fantasy is a clear violation of normal happens which is commonly acceptable events as possibility. Fantasy predicts a view of external actuality which is contradiction feature of internal reality. Irwin has pointed fantasy as the form of imagination and daydream. Moreover, according to Attebery (1980), any narration which positions an important part of the work and the author thinks to be natural law that is fantasy. “Fantasy treats these impossibilities without hesitation, without doubt, without any attempt to reconcile them with our intellectual understanding of the workings of the world or to make us believe that such things could under any circumstances come true” (Attebery, 1980, p.3). Lastly, fantasy is a kind of game and it requires that one play whole-heartedly, plausible for the moment all laws and turns of the game (Attebery, 1980).
- How is science fiction different from fantasy, according to Le Guinn (http://www.ursulakleguin.com/PlausibilityRevisited.html)?
Science fiction is closely related to realism because it is based on the real facts. Most science fiction is plausibility and makes the created world depended on actual and factual outside the story (Le Guinn, 2005). I think that is why we can feel more realistic and think those happens are probable and possible. “In general, science fiction proceeds just as realistic fiction do, meeting conventional expectations of how people generally act, and either avoiding events that will strike the reader as improbable, or plausibly explaining them” (Le Guinn, 2005).
On the other hand, the characteristics of fantasy are far from the realism because the imagination is the basis. As Le Guinn explains that the actions characters in fantasy meets conventional expectation as same as science fiction, but those characters in fantasy can also be nonhuman creatures which follows unpredicted ways.
In my opinion, both science fiction and fantasy genres have different attractive characteristics. Science fiction is based on the real facts so I can feel and imagine that situations in fiction can be real happened someday in the future. However, in fantasy literature, I can imagine and presuppose the future in my ways and the most interesting thing is that makes impossible things to be possible !
References:
Attebery, B. (1980). Locating the Fantasy. In The fantasy tradition in American literature: From Irving to Le Guinn (pp.2-9). Bloomington: Indiana University Press.
Le Guin, U. (2005). Ursula K. Le Guin: Plausibility Revisited. Wha Hoppen and What Didin’t. Retrieved 8, August, 2010 from http://www.ursulakleguin.com/PlausibilityRevisited.html
Friday, August 20, 2010
Week 3
How has fantasy as a genre been defined? Find at least five formative definitions in Attebery (1980).
Attebery (1980) starts off by saying that fantasy cannot be specifically defined without some degree of imprecision. In his first definition of fantasy he throws around a few general key words such as ‘genre’, ‘technique’ and ‘state of mind’. He then goes on to say that an easy way to show someone what he means by fantasy would be to present his bookshelf containing such books as The Lord of The Rings, The Wind in the Willows and Narnia (Attebery, 1980). Attebery (1980) then cites W. R. Irwin as saying that the most important attribute of fantasy is “an overt violation of what is generally accepted as possibility” (Attebery, 1980, p. 3). This basically means that fantasy must be based on an idea that seems impossible within our scope of reality. There are many of these impossible ideas that can be incorporated into a fantasy narrative, such as mythical creatures, inanimate objects with unusual attributes such as speech or movement, events that are physically impossible; just anything that we as humans know could never exist in our own reality. It is important for these impossible ideas to be presented as though there is nothing abnormal about them, that, in this world that has been created, these things are as real and normal as blue skies or toast.
Attebery (1980) also points out that fantasy should inspire a sense of wonder in us, a wonder that comes from viewing these unreal and fantastical worlds. This also comes from our curiosity of the unknown that must be presented in a fantasy narrative, however it should appeal to the fears and yearnings of human life. Fantasy also has the ability, not only to entertain us, but also to fulfill our intellectual and moral inclinations. Overall, fantasy aims to portray philosophical and moral conflicts and ideas that we can relate to, but by presenting them in interesting and impossible ways (Attebery, 1980).
How is science fiction different from fantasy, according to Le Guin (http://www.ursulakleguin.com/PlausibilityRevisited.html)?
Le Guin (2005) states that science fiction has a degree of realism in its narrative, presenting situations that the reader thinks is plausible despite often being set in the distant future or in outer space. Because we view the future as mysterious and unknown, the science fiction that is set in the future has nothing to compare itself to. We can create anything we like there, since in our reality, that time is still unwritten. So basically we create these worlds in different galaxies, hundreds and thousands of years into the future and we can believe it because for all we know it could be like that in the future. Science fiction also portrays the behaviours that we can recognize whilst also explaining away any behaviour that could be seen as implausible (Le Guin, 2005).
In contrast, fantasy doesn’t even pretend to be plausible; there is no pretence that these things took place or ever will take place (Le Guin, 2005). Fantasy is meant to be at odds with the real world and so long as the reader knows this, they can be free to fall completely into that world. However, even though the characters in a fantasy are often nonhuman, their behaviour still tends to be human (Le Guin, 2005). I think this is unavoidable, as we want to give human attributes to everything because we can’t help ourselves. Yet Le Guin (2005) points out that when the original idea is maintained throughout the narrative, and the story is coherent, fantasy can achieve plausibility.
References
Attebery, B. (1980). Locating the Fantasy. In The fantasy tradition in American literature: From Irving to Le Guinn (pp.2-9). Bloomington: Indiana University Press.
Le Guin, U. (2005). Ursula K. Le Guin: Plausibility Revisited. Wha Hoppen and What Didin’t. Retrieved from http://www.ursulakleguin.com/PlausibilityRevisited.html
Attebery (1980) starts off by saying that fantasy cannot be specifically defined without some degree of imprecision. In his first definition of fantasy he throws around a few general key words such as ‘genre’, ‘technique’ and ‘state of mind’. He then goes on to say that an easy way to show someone what he means by fantasy would be to present his bookshelf containing such books as The Lord of The Rings, The Wind in the Willows and Narnia (Attebery, 1980). Attebery (1980) then cites W. R. Irwin as saying that the most important attribute of fantasy is “an overt violation of what is generally accepted as possibility” (Attebery, 1980, p. 3). This basically means that fantasy must be based on an idea that seems impossible within our scope of reality. There are many of these impossible ideas that can be incorporated into a fantasy narrative, such as mythical creatures, inanimate objects with unusual attributes such as speech or movement, events that are physically impossible; just anything that we as humans know could never exist in our own reality. It is important for these impossible ideas to be presented as though there is nothing abnormal about them, that, in this world that has been created, these things are as real and normal as blue skies or toast.
Attebery (1980) also points out that fantasy should inspire a sense of wonder in us, a wonder that comes from viewing these unreal and fantastical worlds. This also comes from our curiosity of the unknown that must be presented in a fantasy narrative, however it should appeal to the fears and yearnings of human life. Fantasy also has the ability, not only to entertain us, but also to fulfill our intellectual and moral inclinations. Overall, fantasy aims to portray philosophical and moral conflicts and ideas that we can relate to, but by presenting them in interesting and impossible ways (Attebery, 1980).
How is science fiction different from fantasy, according to Le Guin (http://www.ursulakleguin.com/PlausibilityRevisited.html)?
Le Guin (2005) states that science fiction has a degree of realism in its narrative, presenting situations that the reader thinks is plausible despite often being set in the distant future or in outer space. Because we view the future as mysterious and unknown, the science fiction that is set in the future has nothing to compare itself to. We can create anything we like there, since in our reality, that time is still unwritten. So basically we create these worlds in different galaxies, hundreds and thousands of years into the future and we can believe it because for all we know it could be like that in the future. Science fiction also portrays the behaviours that we can recognize whilst also explaining away any behaviour that could be seen as implausible (Le Guin, 2005).
In contrast, fantasy doesn’t even pretend to be plausible; there is no pretence that these things took place or ever will take place (Le Guin, 2005). Fantasy is meant to be at odds with the real world and so long as the reader knows this, they can be free to fall completely into that world. However, even though the characters in a fantasy are often nonhuman, their behaviour still tends to be human (Le Guin, 2005). I think this is unavoidable, as we want to give human attributes to everything because we can’t help ourselves. Yet Le Guin (2005) points out that when the original idea is maintained throughout the narrative, and the story is coherent, fantasy can achieve plausibility.
References
Attebery, B. (1980). Locating the Fantasy. In The fantasy tradition in American literature: From Irving to Le Guinn (pp.2-9). Bloomington: Indiana University Press.
Le Guin, U. (2005). Ursula K. Le Guin: Plausibility Revisited. Wha Hoppen and What Didin’t. Retrieved from http://www.ursulakleguin.com/PlausibilityRevisited.html
Wednesday, August 18, 2010
Week Three
How is science fiction different from fantasy, according to Le Guin?
The majority of “science fictions pretend that the future is the present or the past” Le Guin (2005). Seeing that the future is unpredictable, or in this case is a blank page, our imaginations can write whatever we like on it. Science fiction allows us to extend our imaginations beyond what we know on the basis of available data from present trends; whereas fantasy is more straight-forward in terms of the time frame of the events. The reader is left to figure out when certain accounts occur (century, year, etc). Le Guin (2005) states “its contract with the reader is a different one. There is no agreement to pretend that its story happened, might have happened, or might ever happen.”
Science Fiction aims to meet conventional expectations of how people act and try to dodge implications made by the reader for unlikely events by plausibly discussing them. These expectations are also met by fantasy characters. However, “characters in fantasy may not be human, or may relate to nonhuman beings in unexpected ways” Le Guin (2005). Therefore, fantasy characters are not worthy to be classed as plausible; rather, it is the “coherence of the story, and its consistent self-reliance” that is classes as plausible. Le Guin (2005).
How does Attebery (1980) define fantasy? Find at least five definitions.
Lining up a bunch of books on a shelf is how Attebery defines fantasy. He goes on to state that the types of books that would be present on this shelf - all in which relate to fantasy!
The following are some definitions on fantasy found within the text...
• W. R. Irwin classes fantasy as any narrative that presents itself as impossible, he states “whatever the material, extravagant or seemingly commonplace, a narrative is a fantasy if it presents the persuasive establishment and development of an impossibility, an arbitrary construct of the mind with all the control of logic and rhetoric”. Attebery (1980).
• “Any narrative which includes as a significant part of its make-up some violation of what the author clearly believes to be natural law – this is fantasy”
• “Fantasy...presupposes a view of exterior reality which it goes on to contradict”.
• Fantasy is “founded upon the hard recognition that things are so in the world as it appears under the sun; on a recognition of fact but not a slavery to it” – J. R. Tolkien
• Fantasy has the ability to make readers believe that the existence of beings (from flying horses to dragon-like characters) and magical objects (such as “rings, hats, or catles possessing wills”, etc) which are classed as impossibilities, “and fantasy treats these impossibilities without hesitation, without doubt, without any attempt to reconcile them with our intellectual understanding of the workings of the world or to make us believe that such things could under any circumstance come true.” Attebery (1980).
Reference List
Guin, L. (2005). Ursula K. Le Guin: Plausibility Revisited. Wha Hoppen and What Didin’t. Retrieved from http://www.ursulakleguin.com/PlausibilityRevisited.html
Attebery, B. (1980). Locating Fantasy Tradition. In The Fantasy Tradition in American Literature: From Irving to Le Guinn (pp. 2-9). Bloomington: Indiana U P, 1980.
The majority of “science fictions pretend that the future is the present or the past” Le Guin (2005). Seeing that the future is unpredictable, or in this case is a blank page, our imaginations can write whatever we like on it. Science fiction allows us to extend our imaginations beyond what we know on the basis of available data from present trends; whereas fantasy is more straight-forward in terms of the time frame of the events. The reader is left to figure out when certain accounts occur (century, year, etc). Le Guin (2005) states “its contract with the reader is a different one. There is no agreement to pretend that its story happened, might have happened, or might ever happen.”
Science Fiction aims to meet conventional expectations of how people act and try to dodge implications made by the reader for unlikely events by plausibly discussing them. These expectations are also met by fantasy characters. However, “characters in fantasy may not be human, or may relate to nonhuman beings in unexpected ways” Le Guin (2005). Therefore, fantasy characters are not worthy to be classed as plausible; rather, it is the “coherence of the story, and its consistent self-reliance” that is classes as plausible. Le Guin (2005).
How does Attebery (1980) define fantasy? Find at least five definitions.
Lining up a bunch of books on a shelf is how Attebery defines fantasy. He goes on to state that the types of books that would be present on this shelf - all in which relate to fantasy!
The following are some definitions on fantasy found within the text...
• W. R. Irwin classes fantasy as any narrative that presents itself as impossible, he states “whatever the material, extravagant or seemingly commonplace, a narrative is a fantasy if it presents the persuasive establishment and development of an impossibility, an arbitrary construct of the mind with all the control of logic and rhetoric”. Attebery (1980).
• “Any narrative which includes as a significant part of its make-up some violation of what the author clearly believes to be natural law – this is fantasy”
• “Fantasy...presupposes a view of exterior reality which it goes on to contradict”.
• Fantasy is “founded upon the hard recognition that things are so in the world as it appears under the sun; on a recognition of fact but not a slavery to it” – J. R. Tolkien
• Fantasy has the ability to make readers believe that the existence of beings (from flying horses to dragon-like characters) and magical objects (such as “rings, hats, or catles possessing wills”, etc) which are classed as impossibilities, “and fantasy treats these impossibilities without hesitation, without doubt, without any attempt to reconcile them with our intellectual understanding of the workings of the world or to make us believe that such things could under any circumstance come true.” Attebery (1980).
Reference List
Guin, L. (2005). Ursula K. Le Guin: Plausibility Revisited. Wha Hoppen and What Didin’t. Retrieved from http://www.ursulakleguin.com/PlausibilityRevisited.html
Attebery, B. (1980). Locating Fantasy Tradition. In The Fantasy Tradition in American Literature: From Irving to Le Guinn (pp. 2-9). Bloomington: Indiana U P, 1980.
Monday, August 16, 2010
Week Two
What does Khordoc think that Aterix series does better than Hergé’s Tintin?
The common traits in comic books are the use of speech balloons. Khordoc describes this common trait through the comic series Aterix. Throughout the text he draws upon certain elements of these speech balloons (such as the tail, shape, colour, content, etc of the balloons) whilst comparing differences with other comics such as Herge’s Tintin series.
Although the characters are the main narrators, Khordoc feels that although Hergé incorporates onomatopoeia within his works to produce the result of sound, it isn’t enough to be audible like other comic books. This could be because the Tintin series is influenced by other Belgian comics in terms of their complicated story lines, and also the reason why the text within Tintin’s speech balloons take up almost half of the panel. Although each panel has detailed drawings, it still relies heavily on the text. Whereas Asterix would occupy but a little space and at the same time convey a lot of information through both balloons and pictures.
In the case of silent balloons, Asterix uses punctuation (such as exclamation and question marks) to tell the reader how a character feels or what they’re thinking, whereas in Tintin, because it’s a more textual series, it would most likely explain what the character is thinking which would take up time. “Precise words would be slower to convey the feeling then the immediate significant transmitted by the punctuation” Khordoc (2001).
According to Horricks (2004), how have perceptions of comics as a media changed?
In the early 1950’s comic books were perceived to be a bad influence on New Zealand’s young generation at that time. It was thought that comic books were corrupted and could lead children, later in life, to commit crime or go to war. “It may be perfectly true that all of these media have been responsible, over the centuries, for “eroding the most fundamental habits of humane, civilised living”” Horricks (2004).
Reference List
Horricks, D. (2004). The perfect Planet: Comics, games and world-building. In Williams, M. (Ed), Writing at the Edge of the Universe. Christchurch: U of Canterbury Press.
Khordoc C. (2001). The Comic Book’s Soundtrack: Visual Sound-effects in Asterix. In Vernum, R. & Gibbons, C. (Eds.), The Language of Comics: word and image, (pp. 156-173). Jackson: U Press of Mississippi.
The common traits in comic books are the use of speech balloons. Khordoc describes this common trait through the comic series Aterix. Throughout the text he draws upon certain elements of these speech balloons (such as the tail, shape, colour, content, etc of the balloons) whilst comparing differences with other comics such as Herge’s Tintin series.
Although the characters are the main narrators, Khordoc feels that although Hergé incorporates onomatopoeia within his works to produce the result of sound, it isn’t enough to be audible like other comic books. This could be because the Tintin series is influenced by other Belgian comics in terms of their complicated story lines, and also the reason why the text within Tintin’s speech balloons take up almost half of the panel. Although each panel has detailed drawings, it still relies heavily on the text. Whereas Asterix would occupy but a little space and at the same time convey a lot of information through both balloons and pictures.
In the case of silent balloons, Asterix uses punctuation (such as exclamation and question marks) to tell the reader how a character feels or what they’re thinking, whereas in Tintin, because it’s a more textual series, it would most likely explain what the character is thinking which would take up time. “Precise words would be slower to convey the feeling then the immediate significant transmitted by the punctuation” Khordoc (2001).
According to Horricks (2004), how have perceptions of comics as a media changed?
In the early 1950’s comic books were perceived to be a bad influence on New Zealand’s young generation at that time. It was thought that comic books were corrupted and could lead children, later in life, to commit crime or go to war. “It may be perfectly true that all of these media have been responsible, over the centuries, for “eroding the most fundamental habits of humane, civilised living”” Horricks (2004).
Reference List
Horricks, D. (2004). The perfect Planet: Comics, games and world-building. In Williams, M. (Ed), Writing at the Edge of the Universe. Christchurch: U of Canterbury Press.
Khordoc C. (2001). The Comic Book’s Soundtrack: Visual Sound-effects in Asterix. In Vernum, R. & Gibbons, C. (Eds.), The Language of Comics: word and image, (pp. 156-173). Jackson: U Press of Mississippi.
Sunday, August 15, 2010
SCREENING THIS WEEK
There will be a screening of Hayao Miyazaki's PRINCESS MONONOKE on Thursday 19th in WT 901 from 12 until 2.20 pm. It's a long film so we will need to start immediately after 12. Attendance is mandatory.
Week Two
According to Horricks (2004), how have perceptions of comics as a media changed?
Horricks (2004) states that once upon a time, not so very long ago, and right in our own backyard, comics were seen as a cause for great concern. Everybody from members of Parliament to social liberals all seemed to have a problem with the emerging new media. It was even believed that that the banning of comics would reduce the chances of war!
Of course these opinions have changed (toward comics, at least) as time has ticked on by, and moved on to some other new media, beginning the cycle all over again.
It has been found that the longer a new media is around, the more accepted it becomes - this is obvious for pretty much all new media. New musical genres (Horricks uses 'gangsta rap' as an example), modern art, outspoken political commentators and many other new mediums have all come under the harsh scrutiny of the masses. However it seems that the fears and concerns that have been associated with the relatively new media of comics have been laid to rest - it has just taken some time for people to adjust their paradigms of what is and what is not worthy of being deemed 'acceptable'.
Comic books have gone from being shunned by the literary community to receiving prestigious awards, being reviewed along with mainstream literature, and even being included in university courses!
It is my opinion that what Horricks was trying to say, put simply, is that comics have grown more popular and more widely accepted as people have come to understand more about them - they aren't the Devil on paper, but simply another form of expression that is worthy of consideration.
References
Horricks, D. (2004). The Perfect Planet: Comics, games and world-building. In Williams, M. (Ed.), Writing at the Edge of the Universe. Christchurch: U of Canterbury Press.
What does Khordoc think the Asterix series does better than Hergé’s Tintin?
According to Khordoc, the Astrix series portrays "voice" in a far more effective manner than it is portrayed in Tintin. Khordoc goes on to say that a lot of what is meant to be speech in Tintin seems much more like a narrative, and often takes up, on average, half of the frame (2001).
I agree with Khordoc's assessment on the situation - when I read Tintin, I read it almost like I would read a proper novel, because there is just so much text there! Sometimes it is a little too much, and it distracts from the imagry. With Asterix, I feel that they have grasped the concept of 'less is more' very well. There is a wonderful flow to it all, and I find that it speaks to my "minds ear" quite well.
References
Khordoc, C. (2001). The Comic Book’s Soundtrack: Visual Sound-effects in Asterix. In Varnum, R. & Gibbons, C. (Ed.). The Language of Comics: word and image, (pp. 156-173). Jackson: U P of Mississippi.
Horricks (2004) states that once upon a time, not so very long ago, and right in our own backyard, comics were seen as a cause for great concern. Everybody from members of Parliament to social liberals all seemed to have a problem with the emerging new media. It was even believed that that the banning of comics would reduce the chances of war!
Of course these opinions have changed (toward comics, at least) as time has ticked on by, and moved on to some other new media, beginning the cycle all over again.
It has been found that the longer a new media is around, the more accepted it becomes - this is obvious for pretty much all new media. New musical genres (Horricks uses 'gangsta rap' as an example), modern art, outspoken political commentators and many other new mediums have all come under the harsh scrutiny of the masses. However it seems that the fears and concerns that have been associated with the relatively new media of comics have been laid to rest - it has just taken some time for people to adjust their paradigms of what is and what is not worthy of being deemed 'acceptable'.
Comic books have gone from being shunned by the literary community to receiving prestigious awards, being reviewed along with mainstream literature, and even being included in university courses!
It is my opinion that what Horricks was trying to say, put simply, is that comics have grown more popular and more widely accepted as people have come to understand more about them - they aren't the Devil on paper, but simply another form of expression that is worthy of consideration.
References
Horricks, D. (2004). The Perfect Planet: Comics, games and world-building. In Williams, M. (Ed.), Writing at the Edge of the Universe. Christchurch: U of Canterbury Press.
What does Khordoc think the Asterix series does better than Hergé’s Tintin?
According to Khordoc, the Astrix series portrays "voice" in a far more effective manner than it is portrayed in Tintin. Khordoc goes on to say that a lot of what is meant to be speech in Tintin seems much more like a narrative, and often takes up, on average, half of the frame (2001).
I agree with Khordoc's assessment on the situation - when I read Tintin, I read it almost like I would read a proper novel, because there is just so much text there! Sometimes it is a little too much, and it distracts from the imagry. With Asterix, I feel that they have grasped the concept of 'less is more' very well. There is a wonderful flow to it all, and I find that it speaks to my "minds ear" quite well.
References
Khordoc, C. (2001). The Comic Book’s Soundtrack: Visual Sound-effects in Asterix. In Varnum, R. & Gibbons, C. (Ed.). The Language of Comics: word and image, (pp. 156-173). Jackson: U P of Mississippi.
Saturday, August 14, 2010
- Week 2 -
- According to Horricks (2004), how have perceptions of comics as a media changed?
The influence of comics to young people was concerned in New Zealand in the early 1950s (Horricks, 2004). In general, people think that comics are not good for children so that they do not recommend reading comics at all. For example, in Korea, adults consider that reading comics is a just waste of time and it is not helpful to children. “The comics erode the most fundamental habits of humane, civilized living and living and they erode them in the most vulnerable element of our society, our children….If we ban the comics we are reducing the chances of war and preventing the further perversion of the world’s children” (Horricks, 2004, p.3).
However, these days, the perceptions of comics have changed. Comics are reviewed to the genre of ‘graphic novels’ in the pages of the NY Review of Books (Horricks, 2004). As the perceptions of comics changed, the society and people are influenced and changed. In America, Britain and also in New Zealand, there are courses that related to comics in English and Art History university departments (Horricks, 2004). Moreover, the work, Landfall has reexamined and even printed in recent years.
“Perhaps when we find ourselves disturbed or bewildered by the popularity of a new genre or medium, it’s precisely by giving it that “serious consideration” that we will begin to get to grips with what it is and how it works” (Horricks, 2004, p.3).
- What does Baetons (2001) means by ‘monstration’, ‘graphiation’ and the ‘graphiateur’?
The explanation of Baetons is based on the Traces en cases which is written by Philippe Marion. Marion is analysed and focused on the language used in the genre of comics. This work is proposed the visual aspects of the medium as well as the visual form of a comic. In fact, three ways of language features in the comic medium are typically explained that are monstration, graphiation and graphiateur.
According to Batetons (2001), the monstration is categorised as ‘image-narrator’ or ‘great image-maker’ that related to the hierarchical mixture of several kinds of narration. “The creative movement of the graphiateur is only by acknowledging and identifying the graphic trace or index of the artist that the reader can fully understand the message of the work. From this viewpoint, graphiation is eminently self-reflexive and autoreferential” (Baetons, 2001, p.149). I think it can describe just shotrly that monstrated is shown and graphiated is drawn. There is always a relation between the character of graphiation and a single graphiateur. As Baetons (2001) explains, the theory of graphiation is proved that can divide the comic strip’s into a few parts and get together features like the text and the drawing.
Baetons also briefly predicted and mentioned about the future function of graphiation theory in comics artwork. “The future of graphiation theory will play out in relation to its capacity to open the analysis of the written or drawn line to the study of the structural characteristics of a comics artwork” (Baetons, 2001, p. 155).
References:
Baetons, J. (2001). Revealing traces: A new theory of graphic enunciation. In Varnum, R. & Gibbons, C. (Eds.). The Language of Comics: word and image, (pp.145-155). Jackson: U P of Mississippi.
Horricks, D. (2004). The Perfect Planet: Comics, games and world-building. In Williams, M. (Ed.), Writing at the Edge of the Universe. Christchurch: U of Canterbury Press.
The influence of comics to young people was concerned in New Zealand in the early 1950s (Horricks, 2004). In general, people think that comics are not good for children so that they do not recommend reading comics at all. For example, in Korea, adults consider that reading comics is a just waste of time and it is not helpful to children. “The comics erode the most fundamental habits of humane, civilized living and living and they erode them in the most vulnerable element of our society, our children….If we ban the comics we are reducing the chances of war and preventing the further perversion of the world’s children” (Horricks, 2004, p.3).
However, these days, the perceptions of comics have changed. Comics are reviewed to the genre of ‘graphic novels’ in the pages of the NY Review of Books (Horricks, 2004). As the perceptions of comics changed, the society and people are influenced and changed. In America, Britain and also in New Zealand, there are courses that related to comics in English and Art History university departments (Horricks, 2004). Moreover, the work, Landfall has reexamined and even printed in recent years.
“Perhaps when we find ourselves disturbed or bewildered by the popularity of a new genre or medium, it’s precisely by giving it that “serious consideration” that we will begin to get to grips with what it is and how it works” (Horricks, 2004, p.3).
- What does Baetons (2001) means by ‘monstration’, ‘graphiation’ and the ‘graphiateur’?
The explanation of Baetons is based on the Traces en cases which is written by Philippe Marion. Marion is analysed and focused on the language used in the genre of comics. This work is proposed the visual aspects of the medium as well as the visual form of a comic. In fact, three ways of language features in the comic medium are typically explained that are monstration, graphiation and graphiateur.
According to Batetons (2001), the monstration is categorised as ‘image-narrator’ or ‘great image-maker’ that related to the hierarchical mixture of several kinds of narration. “The creative movement of the graphiateur is only by acknowledging and identifying the graphic trace or index of the artist that the reader can fully understand the message of the work. From this viewpoint, graphiation is eminently self-reflexive and autoreferential” (Baetons, 2001, p.149). I think it can describe just shotrly that monstrated is shown and graphiated is drawn. There is always a relation between the character of graphiation and a single graphiateur. As Baetons (2001) explains, the theory of graphiation is proved that can divide the comic strip’s into a few parts and get together features like the text and the drawing.
Baetons also briefly predicted and mentioned about the future function of graphiation theory in comics artwork. “The future of graphiation theory will play out in relation to its capacity to open the analysis of the written or drawn line to the study of the structural characteristics of a comics artwork” (Baetons, 2001, p. 155).
References:
Baetons, J. (2001). Revealing traces: A new theory of graphic enunciation. In Varnum, R. & Gibbons, C. (Eds.). The Language of Comics: word and image, (pp.145-155). Jackson: U P of Mississippi.
Horricks, D. (2004). The Perfect Planet: Comics, games and world-building. In Williams, M. (Ed.), Writing at the Edge of the Universe. Christchurch: U of Canterbury Press.
Wednesday, August 11, 2010
Week 1
Do you think comics are a children's or adult genre/media?
How does Farr (1991) justify Tintin's appeal to adults?
These two questions are related and I have found many answers to this question about why its so popular and appeal to readers, children to adults. Comics, are so attractive for all age groups as its easy to read(not many academic or technical terms, good for chill-out), anytime and for all, with great eye-catching pictures. This is not just time-consuming specifically in this case, Tintin, its got facts which will be readers’ knowledge. Good fun and is mentioned by Farr (1991) ‘There was more to the adventures’ broad appeal than high quality drawing and compelling narrative. As in the best fiction the stories were anchored firmly in fact. There was additionally a topicality of subject which somehow did not date, and there was Herge’s remarkable ability to anticipate world events, whether Pearl Habour or the first manned landing on the moon. The extraordinarily accurate detail of every story, the result of painstaking research and Herge’s constantly swelling archive files, was a key ingredient of the successful formula.’..’The perfectionism of detail of the Tintin stories the real or fictitious but thoroughly convincing settings, mirrored the world as seen by Herge and his public.’
‘Another key aspect of Tintin’s enduring popularity is to be found in the many levels at which the adventures can be appreciated. By devising a character who would appeal to children as much as grown-ups’..Tintin was aimed at “all young people aged from seven to seventy-seven.” Each finds their own level of understanding and appreciation. The appeal is, moreover, self-generating, for in due course the children become adults and then parents themselves, allowing the Tintin tradition to be carried on. It is like J.M. Barrie’s ever youthful Peter Pan continuing to fly off to Never Never Land with tone generation after another of Wendy’s descendants after the herself has grown into womanhood and in due course old age.’
‘The child will be gripped by the excitement of Tintin, the comedy, even farce. The adult will additionally find political satire and parody, puns and prescience. The most dedicated Tintinologist, as he or she may be called, may be read the stories any number of times and still discover something new; they bear repeated re-reading. The adventures, like their hero, are inexhaustible.’
References
Farr, Michael. (1991). Tintin: the complete companion. London: John Murray.
Sunday, August 8, 2010
WEEK ONE
According to the second Farr extract...how did Herge research China for the Blue Lotus?
After meeting with Chang, Herge’s understanding of China and it’s people were corrected. Herge was heavily influenced by the ‘boxer uprising’ which portrayed Chinese people as “slit-eyed people who were very cruel, who would eat swallows’ nests, wear pig-tails and throw children into rivers.” (Farr, 1991). Ever so grateful for the new insight into China, Herge created a friend for tintin, naming him after Chang, he even added his real-life conversation with Chang into the comic stating each other’s perpectives of each other’s cultures/countries.
From this friendship Herge was able to complete the Blu Lotus knowing China’s history, language, culture, art, literature, etc and therefore transfer what he had learnt from Chang into comic. He also made sure that the majority of the sketches were accurate; this included street names and signs. (Farr, 1991).
I think that Chang’s presence had a major impact in the creation of The Blue Lotus. We read of Herge’s perception of China and its people and to think that if Chang had never met Herge....I think Herge would’ve included all the stereotypes he had in mind of Chinese people before he met Chang. “Herge admitted that he had “discovered a civilisation which I had completely ignored”” (Farr, 1991).
Do you think comics are a children’s or adults genre/media?
I think that comics are for all ages. As the saying goes ‘everyone’s different’, I think that we’d interpret certain things in our own way suiting our own understanding.
“The child will be gripped by the excitement of Tintin, the comedy, even farce. The adult will additionally find political satire and parody, puns and prescience.” Anticipating world events such as Pearl Harbour in Tintin’s Adventures, Children could see it as really cool pictures, or just be enthused about the story itself, whereas adults see an event that shocked the world...maybe even admire the detailed pictures!
In saying that comics are for all ages Herge had devised a character who would appea l to children as much as grown-ups. He also said that Tintin was aimed at “all young people aged from seven to seventy-seven.” (Farr, 1991)
Michael, F. (1991). Tintin: the complete companion. London: John Murray.
After meeting with Chang, Herge’s understanding of China and it’s people were corrected. Herge was heavily influenced by the ‘boxer uprising’ which portrayed Chinese people as “slit-eyed people who were very cruel, who would eat swallows’ nests, wear pig-tails and throw children into rivers.” (Farr, 1991). Ever so grateful for the new insight into China, Herge created a friend for tintin, naming him after Chang, he even added his real-life conversation with Chang into the comic stating each other’s perpectives of each other’s cultures/countries.
From this friendship Herge was able to complete the Blu Lotus knowing China’s history, language, culture, art, literature, etc and therefore transfer what he had learnt from Chang into comic. He also made sure that the majority of the sketches were accurate; this included street names and signs. (Farr, 1991).
I think that Chang’s presence had a major impact in the creation of The Blue Lotus. We read of Herge’s perception of China and its people and to think that if Chang had never met Herge....I think Herge would’ve included all the stereotypes he had in mind of Chinese people before he met Chang. “Herge admitted that he had “discovered a civilisation which I had completely ignored”” (Farr, 1991).
Do you think comics are a children’s or adults genre/media?
I think that comics are for all ages. As the saying goes ‘everyone’s different’, I think that we’d interpret certain things in our own way suiting our own understanding.
“The child will be gripped by the excitement of Tintin, the comedy, even farce. The adult will additionally find political satire and parody, puns and prescience.” Anticipating world events such as Pearl Harbour in Tintin’s Adventures, Children could see it as really cool pictures, or just be enthused about the story itself, whereas adults see an event that shocked the world...maybe even admire the detailed pictures!
In saying that comics are for all ages Herge had devised a character who would appea l to children as much as grown-ups. He also said that Tintin was aimed at “all young people aged from seven to seventy-seven.” (Farr, 1991)
Michael, F. (1991). Tintin: the complete companion. London: John Murray.
Friday, August 6, 2010
- Week 1 -
- Do you think comics are children’s or adult genre/ media?
In my opinion, it is hard to say that comics are just children’s or adult’s genre and media. The characteristics of comics can attract a whole generation people. Thus, the comic, ‘Tintin’ is supported this sentence that it is purposed on all age groups. Farr explains (1991) that children and adult apprehend and understand the contents of comics according to their own level. Although the child will be controlled by the interesting and appealing from Tintin, the adult will think deeply that try to find political sarcasm, lampoon, witticism and foresight (Farr, 1991).
Comics are one of the genres that everyone can read and enjoy with their own ways. There is no fact that it is true or false. It can be understand and accept by your own ideas and imaginations. I think the discussion regarded the comic would be interesting, if other reader’s understanding and accepting ways are different from me.
- Does Varnum (2001) define the difference between a cartoon, comics and graphic novel? According to Varnum, what distinguishes comics from other media?
Actually, I could not figure out the differences in Varnum’s writing. From Varnum’s text, I understand that a cartoon, comics and graphic novel are all interrelated. “Comic strips, comic books, graphic novels, single-panel cartoons, wordless comics, animated cartoons, and various other kinds of visual texts bear family resemblances to one another. None of the members of the family shares one feature in common with all the others, but any two share common features” (Varnum, 2001, p.17). The elements of a carton, comic and graphic novel could be formed more than one common feature.
Moreover, comics are distinguished from other media such as television and the internet. Varnum is also briefly supported about it. As Varnum (2001) states, although media and comics are consists of words and visuals, the only components of comics are images, texts and some particular forms like word balloons, zip ribbons and panel frames as well. In the field of media forms, comics are different with other general texts. I think specialized features and visual effects are functioned that people do not feel boring and make interesting to read.
References:
Farr, Michael. (1991). Tintin: the complete companion. London: John Murray.
Varnum, R. & Gibbons, C. (Eds). (2001). Introduction, The Language of Comics: word and image (pp.ix-xix). Jackson: University Press of Mississippi.
In my opinion, it is hard to say that comics are just children’s or adult’s genre and media. The characteristics of comics can attract a whole generation people. Thus, the comic, ‘Tintin’ is supported this sentence that it is purposed on all age groups. Farr explains (1991) that children and adult apprehend and understand the contents of comics according to their own level. Although the child will be controlled by the interesting and appealing from Tintin, the adult will think deeply that try to find political sarcasm, lampoon, witticism and foresight (Farr, 1991).
Comics are one of the genres that everyone can read and enjoy with their own ways. There is no fact that it is true or false. It can be understand and accept by your own ideas and imaginations. I think the discussion regarded the comic would be interesting, if other reader’s understanding and accepting ways are different from me.
- Does Varnum (2001) define the difference between a cartoon, comics and graphic novel? According to Varnum, what distinguishes comics from other media?
Actually, I could not figure out the differences in Varnum’s writing. From Varnum’s text, I understand that a cartoon, comics and graphic novel are all interrelated. “Comic strips, comic books, graphic novels, single-panel cartoons, wordless comics, animated cartoons, and various other kinds of visual texts bear family resemblances to one another. None of the members of the family shares one feature in common with all the others, but any two share common features” (Varnum, 2001, p.17). The elements of a carton, comic and graphic novel could be formed more than one common feature.
Moreover, comics are distinguished from other media such as television and the internet. Varnum is also briefly supported about it. As Varnum (2001) states, although media and comics are consists of words and visuals, the only components of comics are images, texts and some particular forms like word balloons, zip ribbons and panel frames as well. In the field of media forms, comics are different with other general texts. I think specialized features and visual effects are functioned that people do not feel boring and make interesting to read.
References:
Farr, Michael. (1991). Tintin: the complete companion. London: John Murray.
Varnum, R. & Gibbons, C. (Eds). (2001). Introduction, The Language of Comics: word and image (pp.ix-xix). Jackson: University Press of Mississippi.
Monday, August 2, 2010
Week Two
According to Horricks (2004) how have perceptions of comics as a media changed?
Horricks (2004) cites Bill Pearson in his letter written to Landfall: 'The comics erode the most fundamental habits of humane, civilized living and they erode them in the mose vulnerable element of our society, our children ... If we ban the comics we are reducing the chances of war and preventing further perversion of the world's children'. Needless to say this accusation is not only ridiculous but hilarious, however at the time (1950's) comics were considered as a distraction for the active minds of the younger generation. These concerns were brought on by the 'moral panics' of which were always raised as new popular fads came through.
Horricks work brings reasoning to the concerns for comic books by elaborating that 'the problem lies in the way we unthinkingly apply whatever aesthetic paradigm is our most familiar, regardless of whether its relevant to the work' with a solution being one of realisation. 'Perhaps when we find ourselves disturbed or bewildered by the popularity of a new genre or medium, its precisely by giving it that 'serious consideration' that we will begin to get to grips with what it is and how it works' Horricks (2004).
What does Baetens (2001) mean by 'monstration', 'graphiation' and the 'graphiateur' ?
The explanation of 'monstration', 'graphiation' and the 'graphiateur' comes under a coined term 'mediagenius' based off the work of Phillipe Marion (1993). He explains the way in which Marion categorised the elements within a comic book into 3 notions - style, storytelling and medium and how 'Marion proposes to treat all three domains as one single field' Baetens (2001). Noting that neither of the 3 fields can be defined without reference to the other two, allows the concept of enunciation comes into play. Enunciation, in the case of comics is both narrative and visual due to the storyline and also the stories created by the drawings, wordless but generally completed by words. Semiotically, an enunciator is the agent responsible for the enunciative act (in this case the narrator and a graphic artist). So to be more precise, Baetens writes that Marion sought out to create terms that would be more distinct for comic analysis. A 'graphiation' would become the graphic and narrative enunciation of the comics and a 'graphiateur' would be the agent responsible for it.
This is where it gets interesting, Marions distinction between a graphiation and graphiateur is mainly thanks to Europe where comic theory is often more abstract than that of the United States (the work of Scott McCloud is more dominant). The difference between the two is that the American work tries to link the analysis of graphic style whereas Marion 'aims to retheorize the notion of graphic style in relationship with the new perspective mediagenius' Baetens (2001). Baetens furthers this point by explaining that 'every drawing bears the traces of 'graphiation', or the specific enunciative act uttered by the author or agent when he or she makes the drawings and does the lettering of the panels. Graphiation cannot be observed directly since, logically speaking what we see is the result of the enunciative act, not the enunciation itself. However, the analysis of lines, contours, and colours, both of the drawings and of the letters and words, can give an idea of what the graphiateur and his or her graphiation is like - provided of course, one never forgets that semiotic analysis is not concerned with real persons but with agents and 'functions'.
In addition to this, Marion also deals with the concept of graphiation within the larger framework of narrative enunciation by adapting narratology to the comics field similar to the way it has been adopted for film studies like the work of Andre Gaudreault's Du litteraire au filmique. According to Gaudrealt, 'filmic enunciation is narrative when the events of the story are presented to the public by means of narrator, and monstrative when the events are performed by the characters themselves in a situation in which the story seems to narrate itself, without any narrators intervention' Baetens (2001). Marion however argued that Gaudrealts findings were not enough to distinguish the difference and that it should be further analyzed that allows 'monstration' and 'graphiation' to be seperate. According to Marion, graphiation is eminently self-reflexive and autoreferential. By adding monstration into the notion of graphiation is to acknowledge the fact monstration in comics is far from the same as it is in film. In film it has a figurative transparency, whereas in comics the graphic material (lettering and drawing) prevents the transparency from happening.
Baetens demonstrates how Marion's analysis on comic books differs from that of predecessors in that he doesnt try to isolate the comic books intrinsic characteristics or the specificity of internal (balloons or facial expressions) and external (narrative or communication) elements. He does however, introduce 'elements which are neither narrated nor shown ('monstrated') but are drawn (graphiated)' Baetens (2001).
Horricks (2004) cites Bill Pearson in his letter written to Landfall: 'The comics erode the most fundamental habits of humane, civilized living and they erode them in the mose vulnerable element of our society, our children ... If we ban the comics we are reducing the chances of war and preventing further perversion of the world's children'. Needless to say this accusation is not only ridiculous but hilarious, however at the time (1950's) comics were considered as a distraction for the active minds of the younger generation. These concerns were brought on by the 'moral panics' of which were always raised as new popular fads came through.
Horricks work brings reasoning to the concerns for comic books by elaborating that 'the problem lies in the way we unthinkingly apply whatever aesthetic paradigm is our most familiar, regardless of whether its relevant to the work' with a solution being one of realisation. 'Perhaps when we find ourselves disturbed or bewildered by the popularity of a new genre or medium, its precisely by giving it that 'serious consideration' that we will begin to get to grips with what it is and how it works' Horricks (2004).
What does Baetens (2001) mean by 'monstration', 'graphiation' and the 'graphiateur' ?
The explanation of 'monstration', 'graphiation' and the 'graphiateur' comes under a coined term 'mediagenius' based off the work of Phillipe Marion (1993). He explains the way in which Marion categorised the elements within a comic book into 3 notions - style, storytelling and medium and how 'Marion proposes to treat all three domains as one single field' Baetens (2001). Noting that neither of the 3 fields can be defined without reference to the other two, allows the concept of enunciation comes into play. Enunciation, in the case of comics is both narrative and visual due to the storyline and also the stories created by the drawings, wordless but generally completed by words. Semiotically, an enunciator is the agent responsible for the enunciative act (in this case the narrator and a graphic artist). So to be more precise, Baetens writes that Marion sought out to create terms that would be more distinct for comic analysis. A 'graphiation' would become the graphic and narrative enunciation of the comics and a 'graphiateur' would be the agent responsible for it.
This is where it gets interesting, Marions distinction between a graphiation and graphiateur is mainly thanks to Europe where comic theory is often more abstract than that of the United States (the work of Scott McCloud is more dominant). The difference between the two is that the American work tries to link the analysis of graphic style whereas Marion 'aims to retheorize the notion of graphic style in relationship with the new perspective mediagenius' Baetens (2001). Baetens furthers this point by explaining that 'every drawing bears the traces of 'graphiation', or the specific enunciative act uttered by the author or agent when he or she makes the drawings and does the lettering of the panels. Graphiation cannot be observed directly since, logically speaking what we see is the result of the enunciative act, not the enunciation itself. However, the analysis of lines, contours, and colours, both of the drawings and of the letters and words, can give an idea of what the graphiateur and his or her graphiation is like - provided of course, one never forgets that semiotic analysis is not concerned with real persons but with agents and 'functions'.
In addition to this, Marion also deals with the concept of graphiation within the larger framework of narrative enunciation by adapting narratology to the comics field similar to the way it has been adopted for film studies like the work of Andre Gaudreault's Du litteraire au filmique. According to Gaudrealt, 'filmic enunciation is narrative when the events of the story are presented to the public by means of narrator, and monstrative when the events are performed by the characters themselves in a situation in which the story seems to narrate itself, without any narrators intervention' Baetens (2001). Marion however argued that Gaudrealts findings were not enough to distinguish the difference and that it should be further analyzed that allows 'monstration' and 'graphiation' to be seperate. According to Marion, graphiation is eminently self-reflexive and autoreferential. By adding monstration into the notion of graphiation is to acknowledge the fact monstration in comics is far from the same as it is in film. In film it has a figurative transparency, whereas in comics the graphic material (lettering and drawing) prevents the transparency from happening.
Baetens demonstrates how Marion's analysis on comic books differs from that of predecessors in that he doesnt try to isolate the comic books intrinsic characteristics or the specificity of internal (balloons or facial expressions) and external (narrative or communication) elements. He does however, introduce 'elements which are neither narrated nor shown ('monstrated') but are drawn (graphiated)' Baetens (2001).
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