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The Fantastic Other is a carefully assembled collection of essays on the increasingly significant question of alterity in modern fantasy, the ways in which the understanding and construction of the Other shapes both our art and our imagination. The collection takes a unique perspective, seeing alterity not merely as a social issue but as a biological one. Our fifteen essays cover the problems posed by the Other, which, after all, go well beyond the bounds of any single critical perspective. With this in mind, we have selected studies to show how insights from deconstruction, Marxism, feminism, and Freudian, Jungian and evolutionary psychology help us understand an issue so central to the act of reading.
Seventeen fantasies by one of the field's most prolific short story authors, including tales of...mad gods, specters returning from the beyond, inexplicable enigmas from outer space, a romantic and surreal interlude of the legendary madman, Tom O'Bedlam, time travel to allow an irate professor to settle the Shakespearean authorship controversy, and the King Arthur legend--plus genuinely frightening horror, including the celebrated story, "The Dead Kid." Mike Ashley calls the author "today's supreme stylist" of fantasy, and Tanith Lee says that "Schweitzer is a story-teller, by whose smoky fire one may sit spellbound." First-rate stories of the fantastic by a World Fantasy Award winner!
This work provides an extensive guide for students, fans, and collectors of Marvel Comics. Focusing on Marvel's mainstream comics, the author provides a detailed description of each comic along with a bibliographic citation listing the publication's title, writers/artists, publisher, ISBN (if available), and a plot synopsis. One appendix provides a comprehensive alphabetical index of Marvel and Marvel-related publications to 2005, while two other appendices provide selected lists of Marvel-related game books and unpublished Marvel titles.
Vernon Lee writes in the Preface to Hauntings, “My ghosts are what you call spurious ghosts... of whom I can affirm only one thing, that they haunted certain brains, and have haunted, among others, my own.” First published in 1890, Lee’s most famous volume of supernatural tales occupies a special place in the literature of the fantastic for its treatment of the femme fatale and the allure of the past, along with the themes of thwarted artistic creativity and psychological obsession. This collection, which includes the four stories originally published in Hauntings and three others, enables readers to consider Lee’s work anew for its subtle redefinitions of gender and sexuality during the Victorian fin-de-siècle. The appendices, which include extensive excerpts from writings by Lee’s predecessors and peers, including Algernon Charles Swinburne, Walter Pater, and Lee’s brother Eugene Lee-Hamilton, allow the reader to see how Lee takes on the themes and preoccupations of the late-Victorian period but adapts them to her own purposes.
What is the essence of story? How does the storyteller convey meaning? Leading scholar Harold Scheub tackles these questions and more, demonstrating that the power of story lies in emotion. While others have focused on the importance of structure in the art of story, Scheub emphasizes emotion. He shows how an expert storyteller uses structural elements—image, rhythm, and narrative—to shape a story's fundamental emotional content. The storyteller uses traditional images, repetition, and linear narrative to move the audience past the story’s surface of morals and ideas, and make connections to their past, present, and future. To guide the audience on this emotional journey is the storyteller’s art. The traditional stories from South African, Xhosa, and San cultures included in the book lend persuasive support to Scheub’s. These stories speak for themselves, demonstrating that a skilled performer can stir emotions despite the obstacles of space, time, and culture.
Future and Fantastic Worlds embodies an unusual approach to the field of bibliographic research, including over 700 annotations of every DAW book published through mid-1987, with indexes by author, artist, and title, providing a massive guide to modern SF writers and their works, with much background data. Interspersed throughout the book are numerous wry, irreverent, and amusing observations offered by the late and highly respected researcher in this extremely valuable genre tool.
Jason Marc Harris's ambitious book argues that the tensions between folk metaphysics and Enlightenment values produce the literary fantastic. Demonstrating that a negotiation with folklore was central to the canon of British literature, he explicates the complicated rhetoric associated with folkloric fiction. His analysis includes a wide range of writers, including James Barrie, William Carleton, Charles Dickens, George Eliot, Sheridan Le Fanu, Neil Gunn, George MacDonald, William Sharp, Robert Louis Stevenson, and James Hogg. These authors, Harris suggests, used folklore to articulate profound cultural ambivalence towards issues of class, domesticity, education, gender, imperialism, nationalism, race, politics, religion, and metaphysics. Harris's analysis of the function of folk metaphysics in nineteenth- and early twentieth-century narratives reveals the ideological agendas of the appropriation of folklore and the artistic potential of superstition in both folkloric and literary contexts of the supernatural.
Bibliographic information, grade level, and annotations for nearly 7,500 fantasy books for grades 3-12 are given. The introduction discusses the history of fantasy, and awards presented to fantasy titles are listed.
This literary companion surveys the young adult works of American author Marion Zimmer Bradley, primarily known for her work in the fantasy genre. An A to Z arrangement includes coverage of novels (The Catch Trap, Survey Ship, The Fall of Atlantis, The Firebrand, The Forest House and The Mists of Avalon), the graphic narrative Warrior Woman, the Lythande novella The Gratitude of Kings, and, from the Darkover series, The Shattered Chain, The Sword of Aldones and Traitor's Sun. Separate entries on dominant themes--rape, divination, religion, violence, womanhood, adaptation and dreams--comb stories and longer works for the author's insights about the motivation of institutions that oppress marginalized groups, especially women.
The Fantastic in Religious Narrative from Exodus to Elisha argues that perspectives drawn from literary-critical theories of the fantastic and fantasy are apt to explore Hebrew Bible religious narratives. The book focuses on the narratives' marvels, monsters, and magic, rather than whether or not the stories depict historical events. The Exodus narrative (Ex 1-18) and a selection of additional Hebrew Bible narratives (Num 11-14, Judg 6-8, 1 Kings 17-19, 2 Kings 4-7) are analysed from a fantasy-theoretical perspective. The 'fantasy perspective' helps to make sense of elements of these narratives that - although prominently featured in the stories - have previously often been explained by being explained away. These case studies can illuminate Hebrew Bible religion and offer wider perspectives on religious narrative generally. In light of the fantasy-theoretical approach, these Hebrew Bible stories - with the Exodus narrative at the centre - read not as foundational stories, affirming triumphantly and unambiguously the bond between the deity, his people, and their territory, but rather as texts that harbour and even actively encourage ambiguity and uncertainty, not necessarily prompting belief, orientation, and a sense of meaningfulness, but also open-ended reflection and doubt. The case studies suggest that other religious narratives, both in and beyond the Judaic tradition, may also be amenable to interpretation in these terms, thus questioning a dominant trend in myth studies. The results of the analyses lead to a discussion of the role of ambiguity, uncertainty, and transformation in religious narrative in broader perspective, and to a questioning of the emphasis in the study of religion on the capacity of religious narrative for founding and maintaining institutions, orienting identity, and defending order over disorder. The book suggests the wider importance of incorporating destabilisation, disorientation, and ambiguity more strongly into theories of what religious narrative is and does.