 |
LITR 4533
TRAGEDY
Midterm Samples 2010 Essay Answers to Topic 1 |
 |
1. Develop a "working definition" of genre & apply to any genre of your choice besides tragedy. Cite at least 2 examples of your genre from your reading, viewing, or listening experience and 2 secondary / critical research sources. (4-6 paragraphs, 2-3 double-spaced page equivalent)
Melissa King
21 June 2010
Part 1: Genre for the Hopeless Romantic
As human beings we have always tried to make sense of the world by using
classifications and organization. We classify humans into races, gender, age
groups, social classes and many more categories. Animals get organized into
kingdoms and species. There are even classifications for colors, food and jobs.
Humans have created a particular organization system for our sources of
entertainment in order to answer such questions as “What kind of book do I feel
like reading today?,” or “What type of movie am I in the mood for?” This
organization system is the categorization of entertainment into different
genres. Genres are the classification of pieces of literature, artwork, movies
and music based on the particular form or technique each have.
When dealing with genres, many forms come to mind. Genres can include
comedy, tragedy, horror, science fiction, and a plethora of others. Perhaps one
of the most famous genres is that of romance. There are many elements of a piece
of work that cause it to fall under the genre of romance. As stated by Dr. Craig
White in his handout “Genres as Subject, Form, & Narrative” romances deal with
problems of separation. This may take place in the separation of two lovers or
the separation of one character from an “object of desire” (White). The way in
which the characters handle this separation creates the plot and pushes the
story along. Perhaps the most important element that defines the romance genre
is the “happily ever after” ending that is so pleasing to the audience. The
separation that was the initial problem is done away with and the characters
escape their debacles and are transferred to a life of bliss, at least as far as
the audience knows.
Any time the term romance is brought up, the first thing that enters my
mind is Jane Austen’s Pride and Prejudice.
During the nineteenth century romance was a particularly popular topic among
authors, especially the women. Romance at this time was very mimetic of the
historical conflicts occurring during this century.
Pride and Prejudice deals with the
overwhelming presence of the class system, as we see the characters struggling
to find their place in life among those of higher and lower status. Charles
Klopp argues in his article “Chapter 3: The Romance of Romance” that the “appeal
to the representation of history is made from within the structure of romance.”
The representation of history portrayed by the organization of classes is what
creates the central problem of separation in
Pride and Prejudice, ultimately
landing it a place in the genre of romance. The main characters, Elizabeth
Bennett and Fitzwilliam Darcy, are struggling with the social expectations
placed on them when choosing a marriage partner. Mr. Darcy is very wealthy and
highly esteemed in any social setting. Elizabeth comes from a lower class family
and can offer only her companionship and cunning wit.
The differences in their background and social status causes a separation
between the two characters and creates an obstacle for the two in figuring out
their feelings for each other. Elizabeth must overcome her pride and see Mr.
Darcy as the gentleman and heroic character that he is instead of the arrogant,
“evil” character that he is originally portrayed as. Mr. Darcy must get past his
prejudice against the lower class and listen to his heart telling him that
Elizabeth is everything he could possibly want. Klopp also states in his article
that “light and dark heroines” are part of the “building blocks” that make up
romance. Through his prejudices, Mr. Darcy is definitely portrayed in the
beginning as the “dark” hero and Elizabeth becomes the “light” heroine. When the
two finally do overcome their obstacles and find the love they have been looking
for, the novel is given the characteristic happy ending found in the romance
genre. Mr. Darcy and Elizabeth are able to “live happily ever after,” carefree
together in a land of bliss as they become united together in marriage at the
end of the story (White).
Similar to novels, movies can fall into the romance genre. The movie
Sleepless in Seattle is made up of
many romantic elements that make it a perfect fit for this genre. The two
characters, Sam and Annie, desire love and are separated from their fulfillment
of this desire. Not only do they live in different states, but Sam does not even
know that Annie exists. The characters take a “physical journey” in the form of
dating and its failures in order to find each other (White). Sam is forced into
the realm of dating by his son and finds himself with very odd and
potential-lacking women. Annie transforms as a person and realizes that her
fiancé is not right for her. However, these journeys are needed in order for the
two to appreciate each other once they do find one another on top of the Empire
State Building. Charles Klopp discusses in his article that Frye finds romance
to be “ ‘almost by definition’ a love story.”
Sleepless in Seattle is without a
doubt the story of love. The two characters are so wrapped up in their love for
each other that they are transcended to a life without the problems that were
once so apparent and are able to be happy together.
The genre of romance is perhaps the most relatable genre for an audience.
This is what makes it so enjoyable to read or view. The characters are on a
level in which we are able to associate ourselves with them. The stories and
movies leave us feeling like we knew the characters personally and where present
for their growing love. We experience their happiness and their pain and can
often reflect on our own life experiences as we read or watch. This genre brings
out the hopeless romantic in us all.
Works Cited
Austen, Jane. Pride and Prejudice.
New York: Signet Classics, 1989. Print.
Klopp, Charles. “Chapter 3: The Romance of Romance.”
Northrop Frye Twayne’s World Author
Series 806 (1988). Literature Resource
Center. Web. 16 June 2010.
Sleepless in Seattle.
Dir. Nora Ephron. Perf. Tom Hanks, Meg Ryan, and Bill Pullman. TriStar Pictures,
1993. Film.
White, Dr. Craig. “Genre as Subject, Form, & Narrative.” Course home page.
University of Houston Clear Lake, Summer 1 2010. Web. 16 June 2010.
 |
|
|
Allison Evans
June 20, 2010
It’s Not Just Romance
Throughout centuries, several different forms and styles of art, literature, and
theatrics have entered into our repertoire.
In order to help differentiate between all of these works genres have
come about. Genre is a term that helps to identify and group together certain
works of art, literature, and theatrics based upon similar characteristics.
Genres are not held to specific standards and often, two genres are intertwined
with one another or used interchangeably. This allows for genres to remain
flexible in definition in order to adapt to different artistic works.
Using genres to identify an artistic work, prepares the audience for what
they are about to experience. An
example of a more specified genre would be Romance.
Romance, one of the four major genres, identifies itself to the audience through
several specific features and characteristics. According to the Introduction to
Genres page, Romance genres usually begin with some sort of separation of a
character and the “object of their desire,” which could be either another
character or a physical object. The characters continue on and face obstacles in
order to obtain the object of their desire. Once this object is obtained the
characters, “live happily ever after” (Introduction to Genres pg. 4).
Romance genres often intertwine with other genres. One of the most common
genres that mixes with Romance is Comedy. Romance and Comedy share several
similar aspects. Both of these genres begin with a problem, and involve
characters who must overcome this problem. The use of having the characters
often solve their own issues within these genres makes it possible for Romance
and Comedy to exist hand in hand within an artistic work.
While Romance and Comedy are genres that
typically start out the same, there are several differences that help define the
two. The issue in a Comedy usually
begins with a social problem or mistake, both being problems that are small in
terms of significance in comparison with loosing the object of one’s desire. In
Comedy, a strong reliance in the solution to the problem remains in the
physical, and often time’s the appearance of the character. According to Laura
Peterson, “a Comedy is a literary work, usually dramatic, aiming chiefly to
amuse…” (Comedy pg. 1). The characters attempt at solving this problem often
leads to an identity issue, consisting of a new identity or a mistaken one. At
the end of a Comedy all of the characters are all together again and sometime
unite in song or dance instead of just a few (Introduction to Genres pg. 3).
A great example of how Romance and
Comedy intertwine can be seen in a recent children’s movie, Ratatouille. In
Ratatouille, the main character faces an identity crisis that must be solved.
The young boy, Linguini, has just gotten a new job working in a restaurant as a
bus boy. Linguini, being extremely clumsy knocks over a soup by accident and
attempts to fix the issue himself with no success. A mouse, Renny, who has lost
his entire family due to his passion to cook, wanders upon the situation and
fixes Linguini’s mistake impressing the customers and the boss. Throughout a
series of events the two misfits understand the importance of their relationship
and the dependence they have upon one another. Renny needs Linguini’s human body
to continue his dream of being a chef, and Linguini needs Renny’s cooking
abilities to keep his job. During the solution of the identity crisis of the two
characters a little bit of Romance occurs between Linguini and Colette, another
chef. This romance thickens the plot and drives the character’s actions. Through
the help of friends, the identity crisis is solved. In the end of the movie, all
of the characters end up dining together in Renny and Linguini’s restaurant. The
example explains how the two genres can intermingle with one another seamlessly.
While the romance played a part in the plot, it did not act as the main issue in
the movie; it did not determine how the movie was going to end, or solve the
issue of the identity crisis, but the movie would not be the same without the
dynamic the romance brought forth.
Romance is a genre that often intermingles in several genres and helps to drive characters actions and emotions. These can be seen in all types of artistic works: literary, theatrical and many others. The intermingling of the genres often times is seamless and causes some slight confusion as to where one genre ends and the other begins. The issue is not one that only pertains to the intermingling of Romance with other genres, but of the intermingling of any of the genres. This is why the flexibility within the definitions of the genres remains so important and their characteristics serve as basic guidelines to help the audience know what to expect out of the artistic work in order to create a more enjoyable experience.
|
|
|
|
Whitney Evans
A Working
Definition of the Vampire Genre
Vampire
lore, as a genre, seems to fall into numerous categories, the broadest of which
would have to be myth. Vampires are
mythical creatures typically granted immortality and an appetite for blood.
Beyond that, the rules of vampire myth are varied and constantly
evolving. Where one novel may state
that vampires cannot come out in the sunlight (such as in Interview with a
Vampire, or the Southern Vampire Series), others may allow their vampires to do
so, though they may sparkle (as in Twilight).
The subject of vampire novels and films is typically the vampire him or
herself and the victim(s) on whom they prey.
Most commonly, these novels have a romantic narrative due to the myth
that vampires are ultra-sexual beings.
Also, these novels and films tend to use mystery to tell their story.
Since vampires are mythical, supernatural creatures, a great deal of
mystery surrounds their existence.
When one thinks about vampires, several varying images pop up.
Pale, fanged men creeping silently through the darkness in black capes is
probably the most popular idea.
Throughout time however, the myths associated with vampires have evolved.
Where garlic and sunlight were once the bane of a vampire’s existence,
these tools have been tossed aside to make room for a new kind of vampire; an
ultra-modern, old-myth busting one that is super-sexual and both terrifying and
attractive, and very sublime.
Narrowing vampire myth down to one specific genre is nearly impossible.
Not only can these stories be mysterious and romantic, but they can also
delve into the realm of fantasy and horror; fantasy which can be found in
Twilight, with its host of characters
with supernatural powers (Edward is telepathic and Alice can predict the
future), and horror, seen in Interview
with the Vampire when Louis feeds off of a small female child.
With the incredibly numerous genres which vampire myth covers, this
examination of genre will focus mainly on the most prevalent genre within
vampire lore: romance.
Vampire romance varies from regular (non-supernatural) romance due
chiefly to one main difference:
blood. Typical romance focuses on
actual human emotion predicated on love.
Two human characters find one another, fall in love, and due to
extenuating circumstances, are separated for a period of time, ultimately
finding each other again and unifying their love.
This is soft romance. True
emotional ties are formed by actual love, and the couple lives happily ever
after. Vampire romance is almost
entirely different. It focuses on
the undercurrent of blood.
“Bloodlust” is the term that covers vampire sexuality quite well.
Not only do vampires desire the sexual gratification that comes with
drinking blood, but it also goes hand in hand with their natural appetite for
it. The reasons for this are
interesting. Blood is what gives
life to both humans and vampires.
Without it, neither could exist.
In Charlaine Harris’ Southern Vampire Series, the first chapter dives
into the vampire sexuality myth.
“Would you like to drink the blood [the Drainers] collected?
My blood is supposed to improve your sex life” (13).
In this passage, the vampire Bill is speaking to the human Sookie after
she rescues him from “Drainers” (humans who attack vampires and steal their
blood to sell for profit on the black market).
In this series, the drinking (by humans) of vampire blood is supposed to
make a person healthier, stronger, and much more sexual.
As the series progresses, readers learn that a bite from a vampire can
cause an instant orgasm, and several humans begin following vampires in an
effort to sleep with them. These
followers are known as “Fangbangers.”
Even Sookie, the human, before having sex with vampire Bill asks, “Will
this be different than doing it with a regular guy” (Harris, 144).
To this Bill replies, “Oh yes, it’ll be better” (Harris, 144).
The fact that vampire romance is more concentrated on blood and sex is
made more understandable by the idea that vampires are mythological,
supernatural beings. One wouldn’t
expect to have a regular human be able to bite you, drink your blood, and have
that combination bring you sexual pleasure.
Though vampire romance and regular, human romance have their differences,
they also share a few similarities.
For example, “characters in romance tend to be starkly good or bad” (Frye).
In vampire romance, this device usually
holds true. Vampires themselves are
innately “evil” characters, or villains, since in order to survive, they must
drink the blood of humans, effectively ending their victims lives.
Earlier vampire stories, such as the film
Nosferatu, in which the title
character is a vampire who sneaks into the windows of innocent women to drink
the blood of virgins, held strong to this notion much more than the vampire
stories of today. For example, in
Stephanie Meyer’s Twilight series,
the Cullens (a family of vampires) are complex characters because though they
strongly prefer their appetites to be sated by delicious human blood, they
choose to drink animal blood in an effort to stop murdering humans.
“I don’t want to be a monster” (Meyer, 188) says Edward Cullen when asked
why he drinks animal blood instead of human.
When asked if animal blood is enough, he replies, “It doesn’t completely
satiate the hunger…but it keeps us strong enough to resist” (Meyer, 188).
So, though the Cullens are predators, it’s actually other vampires in the
Twilight series who are the villains:
the vampires who continue to kill humans for their blood.
Genre’s gates are like a barbed wire fence: sharp and dangerous, but pliable and relenting. Vampire lore tests the limits of genre in almost every way. Much like Greek and Roman myth, it takes old stories and rules and bends them to make it new and interesting. In this way, genre will never be cemented. It will evolve forever to recreate myths and plotlines that keep readers entertained and keep their minds piqued.
|
|
|
|
Haylie Unger
(grad student)
Part 1 of
Midterm: Working definition and application of genre
Untangling
Genres
Recently, I overheard a colleague struggling to explain “genre” to a
sixth grader. She paused amid a labyrinth of terms and descriptions and glanced
my way for help. I had none to offer because, unfortunately, I was one of many
literate, literal Americans who believe that unbreakable rules apply to each
genre, but I was unable to solidify them enough to discuss with any comfort.
However, genres follow no “set in stone” rules, but rather acknowledge certain
“expectations.” Furthermore, when discussing genres, one may refer to one of
three different categories—subject, formal, or narrative—each having its own
applicable expectations (also known as “conventions”) and many sub-genres
(White, “Intro”).
The subject genre category refers to the way a piece of work may
appeal to a certain group or interest. For example, consider the library section
labeled “children’s books:” obviously these books cover a myriad of topics and
plots, from Where the Red Fern Grows to Curious George Goes to the
Hospital, but all are intended to appeal to a younger audience. Movies are
frequently referred to by there subject genre, using common terminology, such as
“a chick flick” or “teen movie.” As mentioned earlier, these broad genres easily
break down into more specific groups: “a chick flick”—“a romantic
comedy”—“You’ve Got Mail.”
The second category for genres, and perhaps the most structured, is
formal (or representative) genre, which informs the observer of the number
of voices and types of voices in a work. When one speaker addresses an audience
directly, such as in stand-up comedy or sermons, it is known as “narrator” or
“single-voice.” Two or more actors or speakers directly conversing with one
another, as seen in most movies or heard in morning radio shows, is “drama” or
“dialogue.” Finally, the circumstances in which characters speak to each other
and a narrator addresses the audience, as in Greek plays like
Agamemnon, are known as “narrator + dialogue.” When attempting to define a
genre using the formal category, one must keep in mind that any text may move
from one formal genre to another throughout itself. Such an example would be the
radio station which hosts a morning sermon followed by a discussion between two
experts on a specific event (single-voice moving to dialogue).
The third category of genre, narrative genre, “refers to the kind
of story or plot that a work of literature tells or enacts”
(White, “Intro.” par 4). There are four basic narrative genres: tragedy, comedy,
romance, and satire. These genres are distinguished by certain conventions (also
known as formulas or elements), but conventions of two or several genres may be
found together. A much longer paper would be needed to cover the elements of
each of these genres in their entirety, but a brief description is imperative.
Aristotle’s Poetics, regarded as the most important description of
tragedy (White, “Aristotle’s” par 1), offers insight into the narrative genre of
tragedy: “Tragedy is imitation of an action that is serious… [touching our
emotions] through pity and fear” (qtd. in White, “Aristotle’s” par VI). Thus,
the problems which arise in most tragedies are those of serious
importance, effecting a whole state or society, such as in Shakespeare’s
Hamlet, where the corruption of royalty threatens the whole kingdom. Of
comedy, Aristotle writes it is “imitation of characters of a lower type” (qtd.
in White, “Aristotle’s” par V). Problems are much less serious than in tragedy
and are resolved by the end of the work. Consider, for example, the wildly
popular recent comedy The Hangover: Mike Tyson’s stolen tiger is happily
returned and the missing buddy Doug is found by the end of the escapade with no
one the wiser. Romances often deal with the problem of separation. Characters,
rather than exhibiting some innate good and bad qualities (as in Hamlet),
are either entirely good or entirely bad. Consider a popular
modern “superhero” movie—Batman is unquestionably good while The Joker is evil
with zero redeeming characteristics. Typically, romances end with the cliché
“happily ever after.” The final narrative genre, satire, incorporates elements
from some other work or from society at large with the intent to make comic fun
of the original or point out its flaws. A well-known example of satire is the
adult cartoon “South Park.”
While a working definition of each category of genre is important, it is
most interesting to explore where within a single work these genres may mix,
mingle, and cross. I have coined my own term for movies that hold a special
interest to me. This term is “message media.” This term applies to the subject
genre and refers to movies which broach a moral issue, whether blatantly or
symbolically. The Roman poet Horace states that the purpose of literature is to
“entertain and educate” (qtd. in White, “Narrative”)—exactly what message media
does. Movies considered message media include “Crash,” “I Am Legend,” and
“Knowing,” among innumerable others.
Many message media movies fall into a sub-genre of the subject genre
“action films.” This sub-genre is known as “disaster films” (Dirks 1). Tim
Dirks, writing for American Movie Classics Company, states “the best disaster
films comment upon the negative effects of advancing technology, demonstrate the
‘hubris’ of scientists and other individuals, deliver uplifting moral lessons of
sacrifice, and provide a ‘how-to’ in terms of survival skills” (2). These
disaster films also serve as excellent examples of the collapsible lines between
genres. Consider “The Happening,” a recent film in which plants produce a toxin
which causes humans to kill themselves. “The Happening” is a graphic drama, a
disaster film, and a film dealing with human extinction (subject genre). It is a
drama or dialogue which includes no narration (formal genre). Finally, it
combines conventions from two of the four narrative genres. While it broaches
the significant societal problem of environmental miss-management which stems
from innate human nature (as in tragedy) it ends with the restoration of unity
between plants and humans and has no memorable tragic hero (as in romance).
Furthermore, it incorporates heinous spectacle which works to shock rather than
inspiring pity or fear, an element generally considered typical of lower works
of tragedy.
Suddenly I am shocked to find myself writing somewhat confidently on the
nature of genres. I toss away the stone tablet of “black and white rules” I had
thought applied to genres and begin to see them in a new light. Like human
nature, works of literature are neither entirely one way nor the other, but
somewhere in between.
Works Cited
Dirks, Tim.
“Film Sub-Genres.” n.d. Filmsite, American Movie Classics. 15 June 2010 <http://www.filmsite.org/subgenres.html.>
White,
Craig. “Aristotle’s Poetics.” Online posting. n.d. Course webpage
Tragedy. University of Houston-Clear Lake. 20 June 2010
<http://coursesite.uhcl.edu/hsh/whitec/xcritsource/AristotlePoetics.htm>.
---. “
Introduction to Genres.” Online posting. n.d. Course webpage Tragedy.
University of Houston-Clear Lake. 20 June 2010 <http://coursesite.uhcl.edu/hsh/whitec/litr/4533/>.
---. “
Narrative Genre.” Online posting. n.d. Course webpage Tragedy. University of
Houston-Clear Lake. 20 June 2010 <
http://coursesite.uhcl.edu/hsh/whitec/terms/N/narrative.htm>.
|
|
|
|
Brittany Fletcher
20 June 2010
Finding Fantasy
Genre is a concoction of terms and parameters derived to place a style or
category of art or literature. Fantasy genre takes its seat among many other
genres that exist. Fantasy can interrelate sometimes into Sci Fi (Science
Fiction) or Fiction in general. The Fantasy genre has an eye for personifying
mystical creatures or beings in an off balance world. Fantasy typically involves
stories that resemble reality but also have elements of mysticism.
A good example of the Fantasy genre is J.K. Rowling’s Harry Potter series. Rowling’s successful children’s novel about a young boy named, Harry, who finds out he is a wizard has touched the hearts of millions all over the world. The series follows Harry’s life and watches how he grows not only as a wizard but also into a young man. Harry deals with the tragic loss of his parents as a boy by the hand of the darkest wizard ever known, Lord Voldemort. Harry finds a new life at Hogwarts School of Witchcraft and Wizardry and loyal friends and teachers that turn into lifelong experiences for Harry. In Aristotle’s Poetics on Tragedy he exclaims that “Tragedy is an imitation not only of complete action, but of events inspiring fear or pity. Such an effect is best produced when, at the same time, they follow as cause and effect” (3). Harry Potter’s loss of his parents unfolds throughout the story, helping the reader develop empathy for his character. The audience/ reader begin to see events taking place that shape Harry as a character. The effect being the prophecy of becoming “the chosen one” by the cause of Lord Voldemort’s cold blooded murder of Harry’s parents.
These events play out in surprising ways in the series that help the reader
deeply invest in the characters. The series has a number of spectacles of
blazing wizard battles of enchantments and curses but the heart of the work is a
character driven story. The series holds true to its Fantasy genre by Rowling’s
imaginative magical world but Harry remains a regular adolescent boy who
struggles with traumas and hardships throughout life. In the article
A Teaching Unit on Using A Fantasy Film
to Awaken Moral Imaginations Kaneana May writes that “These texts contain
subject matter related to real and imaginary worlds, sometimes with movement
between both worlds” (72). The article states that the
Harry Potter series is used for
children to help form their own opinions on morality while still using their
imaginations through a fantasy genre. The story tests Harry’s character through
the encounters he makes with Voldemort a number of times. The audience/ reader
see the mix of good and bad played out in the character of Harry. The books draw
in thousands of fans across the globe by mixing a very endearing magical world
of wands and Bertie Botts Every Flavored Jellybeans with a young boy finding
himself through loyal friends and lifelong choices.
Another example of Fantasy genre is The
Lord of the Rings films. Peter
Jackson’s interpretation of J. R. R. Tolkien’s Middle Earth was breathtakingly
astonishing. Jackson brought life to Tolkien’s literature. The films trilogy
gives a wonderful depiction of The Shire, Rivendell, Mordor, and Isengard. By
bringing these places to the screen, Jackson has created a fantasy for millions
to enjoy. These films allow people to vicariously experience the world of Middle
Earth that Tolkien gave literary birth to. Tolkien and Jackson have both had a
hand at creating characters that deal with moral choices while living in a
mystical existence. Frodo battles the influence of the ring and must choose to
destroy it to save Middle Earth. Frodo encounters friends and loyal companions
to help him cross this tremendous journey. Middle Earth becomes a place that we
as audience members and readers experience through the world of literature and
film.
Fantasy genre also played a huge role in ABC’s hit TV show
LOST. The show is about a couple of
passengers that embark on a plane ride from Sydney Australia to L.A. but never
end up making the trip. The plane crashes on a deserted island in the middle of
the ocean. This island becomes a journey of self-discovery for some of these
passengers. The character of Jack is a spinal surgeon who has had a struggling
relationship with his alcoholic father who has recently passed away. The
character of John Locke was paralyzed and in a wheel chair when he boarded the
plane but now can walk on the island. There are several other characters such as
Kate and Sawyer that reveal their past and are able to have a second chance to
shape their destiny on the island. The show crosses over into Science Fiction
because it deals with time travel and electromagnetism at times throughout the
series but the cerebral aspects of the show lies within these characters. The
viewers invest their emotions into these characters and have stayed with them
for the past six years. The show just recently ended this year and has made an
impact on many lives because of the journey that the characters went on
throughout the show.
Fantasy genre holds elements of reality but puts a mystical twist on it
by creating another world or dimension. The success of
Harry Potter,
Lord of the Rings and
Lost is from having that mix of
reality in the characters and the fantasy of imagination. The audience/ reader
still relate but also get to enjoy the imagination at work in new heights.
Fantasy has a sense of innocence, creativity and addictive escapism. Fantasy
opens doors to release the mind from logic in order for it to enjoy something
beyond the question of possible.
Works Cited
Aristotle. “Poetics on Tragedy.” Course home page. University of Houston, Summer
2010. Web. 14 June 2010.
Kaneana, May. “A Teaching Unit on Using A Fantasy Film to Awaken Moral
Imaginations.”
Screen Education 45 (2007):
72-86. Academic Search Complete. Web.
14 June 2010.
Lord of the Rings
Trilogy. Dir. Peter Jackson. Perf. Elijah Wood, Sean Astin, and Orlando Bloom.
New Line Cinema, 2001, 2002, 2003. Film.
Lost.
Perf. Matthew Fox, Evangeline Lilly, and Josh Holloway. ABC Studios, 2004-2010.
Television.
Rowling, J.K. The Harry Potter Series.
New York: Scholastic, 2000- 2009. Print.
|
|
|
|
Rachel Jungklaus
June 20, 2010
Fantasy Fiction as a Genre
What is a genre? Genre is a category of medium separated into sections by
certain characteristics within the medium. By media, I mean literature, music,
movies, artwork, and etcetera. Frequently, such genres may be broken down into
further subcategories. For example, fiction is a genre, but there are many types
of fiction that may be identified further by saying historical fiction, fantasy
fiction, science fiction, and so on. As an example, I will be using my favorite
book genre, fantasy fiction.
To start with, fiction has a set of characteristics that sets it apart
from nonfiction. The Book Nuts Reading Club says that fiction “may be based on
actual events or people or may be based entirely on the author’s imagination,
but fictional stories all contain elements that are made-up or created by the
author” (“Reading Genre Definitions”). So basically, some part of every book in
the fiction category is purely made-up. To qualify as a genre, it must be a
category for certain mediums with specific characteristics. The main
characteristic, as I just pointed out, is that some part is all imagined.
Therefore, fiction is a genre.
Fantasy fiction is also a genre, but a more specific one. Fantasy fiction
has even more characteristics as guidelines for its category. Steve Bennett,
author of findmeanauthor.com, says that “make-believe is what this genre is all
about” (“Fantasy”). Fantasy fiction features things that are not realistic, like
talking animals, magical powers, and such. Bennett describes fantasy fiction the
best by saying, “Fantasy
is often characterized by a departure from the accepted rules by which
individuals perceive the world around them; it represents that which is
impossible (unexplained) and outside the parameters of our known, reality”
(“Fantasy”). This differs from science fiction, though the two are very similar,
by the use of reality. Science fiction often uses futuristic technology that
could, eventually, be realistic. So, fantasy fiction is a genre because of its
carefully constructed guidelines defining it. An interesting side
note is that fantasy fiction has a whole list of subgenres, like comic fantasy,
dark fantasy, high/ low fantasy, magic realism, sword and sorcery, mythic,
paranormal fantasy, romantic fantasy, and etcetera. Unfortunately, it seems that
though the details get more specific, the medium is harder to specifically
categorize the further along into subgenres that you go.
My three examples of fantasy fiction, while all belonging to different
subgenres, are all perfect and contemporary books that fit into this genre.
First, J.K. Rowling’s Harry Potter series is high or epic fantasy, or it
could be sword and sorcery. Harry receives a letter in Chapter Four: The Keeper
of the Keys in the first book, Harry Potter and the Sorcerer’s Stone,
introducing him to both the “wizarding world” and to his magical powers (51).
Harry goes to Hogwarts, which is the main setting in the series, and learns how
to use his wand, mix potions, and take care of magical creature and plants.
While initially based in the real world in Great Britain, he does enter into the
wizarding world, which was entirely made-up by Rowling. Harry learns his magic
and deals with regular, magic-enhanced teenager issues, and in the end, Harry
triumphs over evil. The Harry Potter series is classic fantasy fiction.
Next, Rick Riordan’s Percy Jackson and the Olympians series could
arguably be high fantasy, mythology, or sword and sorcery, but, of course, they
are all fantasy fiction. In The Lightning Thief, Percy Jackson discovers
that he is a half-blood, that is half human and half god. He is even claimed by
his father, after which Chiron (mythical centaur) announces, “Poseidon,
Earthshaker, Stormbringer, Father of Horses. Hail, Perseus Jackson, Son of the
Sea God” (126). Percy’s best friends at camp are Grover, the satyr, and
Annabeth, daughter of Athena. Percy, Grover and Annabeth go on a quest and save
the world, or at least Olympus, from destruction. The Percy Jackson
series is another classic example of fantasy fiction.
Last, Stephanie Meyer’s Twilight Saga could be categorized as low
fantasy or romance fantasy. While Twilight starts out perfectly normal,
it certainly does not end that way. Bella Swan falls in love with Edward Cullen,
who happens to be a vampire (195). Now, while a lot of readers think that the
Twilight Saga belongs in a Teen Romance genre or a vampire novel genre, I
disagree. After all, vampires are supernatural beings. Also, Edward’s ability to
read minds, Alice’s ability to tell the future, and Jasper’s ability to control
moods all seem like magical kinds of power to me. And then at the end of the
Saga, Bella’s ability to protect both herself and others from mental attacks is
highly extraordinary. Bella and Edward’s story differs from the previous two by
the fact that the others were always fighting to save the world, but Bella and
Edward were simply fight the odds against them as human and vampire lovers. So,
while Twilight may not be a classical example of fantasy fiction, it is a
classic example of how a book can fit into more than one genre for no other
reason than an argument can, and will, be made for it.
Genres are a flexible sort of categorization that is never foolproof or
entire a single definition. Genres can apply to almost any sort of Fine Art. And
there are more genres for each type of art than anyone could ever count because
people are always coming up with new names and classifications that better
describe certain books (or other things), like sword and sorcery. But of all the
genres I have seen so far, I must say I love fantasy fiction.
Works Cited
Bennett, Steve. “Fantasy Fiction Genre.” Findmeanauthor.com. 2009. 20
June 2010. <http://findmeanauthor.com/fantasy_fiction_genre.htm>.
Carter, Lori. “Reading Genre Definitions.” Book Nuts Reading Club. 20
June 2010. <http://www.booknutsreadingclub.com/genrelist.html>.
Meyer, Stephanie. Twilight. New York: Little, Brown and Company, 2005.
Riordan, Rick. Percy Jackson and the Olympians: The Lightning Thief. New
York: Disney Hyperion Books, 2005.
Rowling, J. K. Harry Potter and the Sorcerer’s Stone. New York:
Scholastic, 1997.
|
|
|
|
|
|
