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Strategies of Fantasy

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Brian Attebery's "strategy of fantasy" include not only the writer's strategies for inventing believable impossibiltes, but also the reader's strategies for enjoying, challenging, and conspiring with the text. Drawing on a number of current literary theories (but avoiding most of their jargon), Attebery makes a case for fantasy as a significant movement within postmodern l Brian Attebery's "strategy of fantasy" include not only the writer's strategies for inventing believable impossibiltes, but also the reader's strategies for enjoying, challenging, and conspiring with the text. Drawing on a number of current literary theories (but avoiding most of their jargon), Attebery makes a case for fantasy as a significant movement within postmodern literature rather than as a simple exercise of nostalgia. Attebury examines recent and classic fantasies by Ursula K. Le Guin, John Crowley, J.R.R. Tolkien, Diana Wynne Jones, and Gene Wolfe, among others. In both its popular and postmodern incarnations, fantasic fiction exhibits a remarkable capacity for reinventing narrative concentions. Attebery shows how plots, characters, settings, storytelling frameworks, gender divisions, and references to cultural texts such as history and science are all called into question the moment the marvelous is admited into a story.


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Brian Attebery's "strategy of fantasy" include not only the writer's strategies for inventing believable impossibiltes, but also the reader's strategies for enjoying, challenging, and conspiring with the text. Drawing on a number of current literary theories (but avoiding most of their jargon), Attebery makes a case for fantasy as a significant movement within postmodern l Brian Attebery's "strategy of fantasy" include not only the writer's strategies for inventing believable impossibiltes, but also the reader's strategies for enjoying, challenging, and conspiring with the text. Drawing on a number of current literary theories (but avoiding most of their jargon), Attebery makes a case for fantasy as a significant movement within postmodern literature rather than as a simple exercise of nostalgia. Attebury examines recent and classic fantasies by Ursula K. Le Guin, John Crowley, J.R.R. Tolkien, Diana Wynne Jones, and Gene Wolfe, among others. In both its popular and postmodern incarnations, fantasic fiction exhibits a remarkable capacity for reinventing narrative concentions. Attebery shows how plots, characters, settings, storytelling frameworks, gender divisions, and references to cultural texts such as history and science are all called into question the moment the marvelous is admited into a story.

30 review for Strategies of Fantasy

  1. 5 out of 5

    Wm

    Some chapters have aged better than others. I wish it was a little more plumped out with a stronger through-thread and an afterword or concluding chapter, but still very much worth reading, especially since there isn't a ton of lit-crit/theory that attempts to tackle the field as a whole (there has been more work done on individual authors/titles). Some chapters have aged better than others. I wish it was a little more plumped out with a stronger through-thread and an afterword or concluding chapter, but still very much worth reading, especially since there isn't a ton of lit-crit/theory that attempts to tackle the field as a whole (there has been more work done on individual authors/titles).

  2. 5 out of 5

    Nathaniel

    4.5 really.

  3. 5 out of 5

    Michael

    this is very interesting, very engaging, as an overview of lit crit in collision with fantasy, the only problem being it is 21 years old, so there is no reference to most very modern fantasy like Harry Potter or those massive multi-volume fantasies such as Game of Thrones, nor the vampire urban fantasies of this century...

  4. 5 out of 5

    Simon

    Some interesting insight, first few chapters seem to focus too much on fantasy being recognised as a serious genre - a tedious argument.

  5. 4 out of 5

    Nate Cloyd

  6. 5 out of 5

    Aleksandra Dmowska

  7. 5 out of 5

    Jarl Erik

  8. 4 out of 5

    Odin

  9. 5 out of 5

    Marita Arvaniti

  10. 5 out of 5

    Michael

  11. 4 out of 5

    Veera

  12. 4 out of 5

    Gem

  13. 5 out of 5

    Tommy

  14. 5 out of 5

    Megan

  15. 5 out of 5

    Sarah Reffstrup

  16. 4 out of 5

    Sheikh Tajamul

  17. 4 out of 5

    Chris King Elfland's 2nd Cousin

  18. 4 out of 5

    Martin Lund

  19. 5 out of 5

    Gregory

  20. 5 out of 5

    Ellen Sandberg

  21. 4 out of 5

    Kira

  22. 4 out of 5

    Amanda

  23. 4 out of 5

    Meg MacDonald

  24. 5 out of 5

    Alberta Ross

  25. 4 out of 5

    Lauren

  26. 4 out of 5

    Nathan

  27. 4 out of 5

    Kara

  28. 5 out of 5

    Bar Fridman Tell

  29. 5 out of 5

    Jefferson Gaskin

  30. 5 out of 5

    Piotr Stasiewicz

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