Inner Structuring of Fantastic Literature by the Function of the Fantastic Element
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| Year of publication | 2015 |
| Type | Appeared in Conference without Proceedings |
| MU Faculty or unit | |
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| Description | I would like to introduce a concept of inner structuring of fantastic literature I am currently working on. Its purpose is to provide an alternative mode of relating fantastic works to each other for the sake of analysis, not to create a fixed taxonomy. Generally, we can distinguish two basic categories within fantastic literature: The pure fantastic is focused on a fantastic element (a fantastic change, world, event etc.), thus the fantastic element functions as the core of the text. In the fantastic as a mean of expression, the fantastic element serves as a platform for creating a story or as a tool of an allegory or a symbol. In terms of extratextual factors, pure fantastic is usually connected with a fantastic community, whereas authors using the fantastic as a mean of expression tend to be from different cultural backgrounds and relate to the fandom very loosely or not at all (refusal of any affiliation to it is not exceptional). From a deeper point of view, we can name three fundamental functions of the fantastic element, present mostly in the pure fantastic: Fantastic as an element of doubt – is characteristic for postmodern deconstruction of the boundaries between reality and illusion, accompanied with loss of all certainty. It might be expressed along with emotions of insecurity and fear, as in the works of Phillip K. Dick or playfully in the mode of Neil Gaiman or Kelly Link. The fantastic element as a realistic approach is essential to the works aspiring for maximal plausibility in relation to our reality; it is typical for hard science fiction, alternative history and lot of texts localized in the potential future. The fantastic element as a vehicle of intrinsic coherence – in spite of creating independent fictional worlds, it cannot be interpreted as mere allegories, these works bear a strong resemblance to our reality in their deeper structure. A distinctive example could be works by Ursula K. Le Guin or some short stories by Ted Chiang. |
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