The Boggart

The boggart was a much-feared, little-studied supernatural being from the north of England. Against the odds, it survives today, whether in place-names or in works of fantasy literature – not least Harry Potter. Centring on this mercurial and mysterious figure, The Boggart pioneers two methods for collecting folklore: first, the use of hundreds of thousands of words on the boggart from digitised ephemera; second, about 1,100 contemporary boggart memories that derive from social media surveys and personal interviews relating to the interwar and postwar years. Through a radical combination of this new information and an interdisciplinary approach – involving dialectology, folklore, Victorian history, supernatural history, oral history, place-name studies, sociology and more – it is possible to reconstruct boggart beliefs, experiences and tales. The boggart was not, as we have been led to believe, a ‘goblin’. Rather, this was a much more general term encompassing all solitary, and often ambivalent, supernatural beings, from killer mermaids to headless phantoms to shape-changing ghouls. In the same period that boggart beliefs were dying, folklorists continuously misrepresented the boggart and how the modern fantasy version was born of these misunderstandings. As well as offering a fresh reading of a deep seam of folklore, this book showcases some of the ways in which harnessing recent advances in digitization can offer rich and compelling rewards.

Альтернативний погляд на альтернативну історію

The article is a review of a text entitled Alternative history as a meta-genre of Ukrainian and foreign prose: Comparative genealogy and poetics by Antonina Anistratenko, scientific editor: Halyna Syvachenko (Chernivtsi, 2020). The monograph consists of 548 pages. The subject of the study is the comparative genology and poetics of the alternative history meta-genre. According to the researcher’s well-founded belief, the subgenre accumulates a corpus of science fiction texts, fantasy literature with a component of the formula of alternative history in the artistic structure. Antonina Anistratenko analyses the works of representatives of different national literatures as well as develops an original hierarchical model of alternative history.

Speaking of Mysteries: Atonement in Teenage Fantasy Books

<p>The question of how we can speak of a transcendent God and God’s relationship with creation has been pondered for millennia. Today particular difficulties arise when communicating Christian atonement theories to a generation for whom the world of the Bible is increasingly foreign, and in a time when theologians and philosophers are questioning both the violence of some atonement theories and the existence of “superior transcendence.” This study explores the presence of biblical motifs in the stories of atonement in young adult fantasy works. It suggests that the use of these motifs to make sense of atonement within fantasy worlds may assist readers to make sense of the same motifs when they are used to portray the Christian story of atonement. The investigation begins by discussing the place of imagination, reason and transcendence in religious language and argues for the centrality of metaphor and myth in religious expression. It suggests that young people today still seek intermediaries—“priests and prophets”—between themselves and the unknown, but they now find them in the fantasy authors who continue to use imaginative language to communicate transcendence. A central trope in contemporary fantasy fiction is that of a death that saves the world. Contrary to the expectations raised by René Girard’s work, these are not the violent deaths of a helpless scapegoat. The biblical mythologems incorporated in these works allow the authors to explore instead ideas of divine and human self-giving. This is demonstrated by tracing how mythological understandings of blood, victory and covenant in the Bible are incorporated into the atonement process of three fantasy series: the Old Kingdom Chronicles by Garth Nix (1995-2003), the Mortal Instruments trilogy by Cassandra Clare (2007-2009), and the Harry Potter series by J.K. Rowling (1997-2007). The thesis proposes that the presence of biblical mythologems in contemporary fantasy stories of atonement means that a better understanding of their use in each domain can both enrich our appreciation of this kind of literature and provide teenagers with an imaginative language with which to consider aspects of Christian atonement. The prevalence of atonement ideas within recent fantasy books suggests that, by attending to the mythologems of atonement drawn from the Bible, the church might both rediscover the imaginative power of her own story and convey it meaningfully to young readers of fantasy literature today.</p>

Speaking of Mysteries: Atonement in Teenage Fantasy Books

<p>The question of how we can speak of a transcendent God and God’s relationship with creation has been pondered for millennia. Today particular difficulties arise when communicating Christian atonement theories to a generation for whom the world of the Bible is increasingly foreign, and in a time when theologians and philosophers are questioning both the violence of some atonement theories and the existence of “superior transcendence.” This study explores the presence of biblical motifs in the stories of atonement in young adult fantasy works. It suggests that the use of these motifs to make sense of atonement within fantasy worlds may assist readers to make sense of the same motifs when they are used to portray the Christian story of atonement. The investigation begins by discussing the place of imagination, reason and transcendence in religious language and argues for the centrality of metaphor and myth in religious expression. It suggests that young people today still seek intermediaries—“priests and prophets”—between themselves and the unknown, but they now find them in the fantasy authors who continue to use imaginative language to communicate transcendence. A central trope in contemporary fantasy fiction is that of a death that saves the world. Contrary to the expectations raised by René Girard’s work, these are not the violent deaths of a helpless scapegoat. The biblical mythologems incorporated in these works allow the authors to explore instead ideas of divine and human self-giving. This is demonstrated by tracing how mythological understandings of blood, victory and covenant in the Bible are incorporated into the atonement process of three fantasy series: the Old Kingdom Chronicles by Garth Nix (1995-2003), the Mortal Instruments trilogy by Cassandra Clare (2007-2009), and the Harry Potter series by J.K. Rowling (1997-2007). The thesis proposes that the presence of biblical mythologems in contemporary fantasy stories of atonement means that a better understanding of their use in each domain can both enrich our appreciation of this kind of literature and provide teenagers with an imaginative language with which to consider aspects of Christian atonement. The prevalence of atonement ideas within recent fantasy books suggests that, by attending to the mythologems of atonement drawn from the Bible, the church might both rediscover the imaginative power of her own story and convey it meaningfully to young readers of fantasy literature today.</p>

"You Know Very Well You're Not Real": Victorian Children's Fantasy Literature and the Problem of Writing the Child

<p>This thesis examines eight "Golden Age"children's fantasy narratives and uncovers their engagement with the "impossibility" of writing the child. Only recently has children's literature criticism recognised that the child in the text and the implied child reader cannot stand in for the "real" child reader. This is an issue which other literary criticism has been at pains to acknowledge, but which children's literature critics have neglected. I have based my reading on critics such as Karin Lesnik-Oberstein, Jacqueline Rose and Perry Nodelman, all of whom are concerned to expose the term "child" as an adult cultural construction, one which becomes problematic when it is made to stand in for real children. I read the child in the text as an entity which contains and is tainted by the trace of the adult who writes it; it is therefore impossible for a pure, innocent child to exist in language, the province of the adult. Using Derrida's conception of the trace and his famous statement that "there is nothing outside of the text," I demonstrate that the idea of the innocent child, which was central to Rousseau's Emile and the Romantic Child which is supposed to have been authored by Wordsworth and inherited wholesale by his Victorian audience, is possible only as a theory beyond language. The Victorian texts I read, which include Lewis Carroll's Alice texts, George MacDonald's At the Back of the North Wind and the Princess texts, Kingsley's The Water Babies and Mrs. Molesworth's The Cuckoo Clock and The Tapestry Room, all explore different ways in which the child might be successfully articulated: in language, in death, and through the return journey into fantasy. While all the texts attempt to reach the child, all ultimately foreground the failure of this enterprise. When a language is created which is child-authored, it fails as communication and meaning breaks down; when the adult ceases to write the narrative, the child within it ceases to exist.</p>

"You Know Very Well You're Not Real": Victorian Children's Fantasy Literature and the Problem of Writing the Child

<p>This thesis examines eight "Golden Age"children's fantasy narratives and uncovers their engagement with the "impossibility" of writing the child. Only recently has children's literature criticism recognised that the child in the text and the implied child reader cannot stand in for the "real" child reader. This is an issue which other literary criticism has been at pains to acknowledge, but which children's literature critics have neglected. I have based my reading on critics such as Karin Lesnik-Oberstein, Jacqueline Rose and Perry Nodelman, all of whom are concerned to expose the term "child" as an adult cultural construction, one which becomes problematic when it is made to stand in for real children. I read the child in the text as an entity which contains and is tainted by the trace of the adult who writes it; it is therefore impossible for a pure, innocent child to exist in language, the province of the adult. Using Derrida's conception of the trace and his famous statement that "there is nothing outside of the text," I demonstrate that the idea of the innocent child, which was central to Rousseau's Emile and the Romantic Child which is supposed to have been authored by Wordsworth and inherited wholesale by his Victorian audience, is possible only as a theory beyond language. The Victorian texts I read, which include Lewis Carroll's Alice texts, George MacDonald's At the Back of the North Wind and the Princess texts, Kingsley's The Water Babies and Mrs. Molesworth's The Cuckoo Clock and The Tapestry Room, all explore different ways in which the child might be successfully articulated: in language, in death, and through the return journey into fantasy. While all the texts attempt to reach the child, all ultimately foreground the failure of this enterprise. When a language is created which is child-authored, it fails as communication and meaning breaks down; when the adult ceases to write the narrative, the child within it ceases to exist.</p>

J.R.R. Tolkien: Pioneer of Worldbuilding

This paper explains after analysing critical aspects why J. R. R. Tolkien’s efforts are the mere reason for generating huge interests among authors in Fantasy. Among the most prominent novels of 20th century, for considering excellence in any fantasy literature his works stood as a benchmark. It also highlights about World Building. The greatest contribution belongs to Fantasy Literature is making of new worlds, providing new definition to fantasy and his esteem for different languages made him to use the Language as a constant to create the world from scratch. Tolkien may consider the creator of his own world – Middle-earth which acts as a Universe, it took around 60 years in the creation, has a deep meaning in everything which one can ever expect. He is a prolific artist and his created universe of own geography and history, flora and fauna, languages and cultures, physics and magic proved fine artist constructing the worlds.

Krew i brud. Uwagi na temat estetyki oraz poetyki opisów śmierci w cyklu o wiedźminie Andrzeja Sapkowskiego

Andrzej Sapkowski’s The Witcher series is the first Polish fantasy series that has gained so much popularity. When Sapkowski published his first story — The Witcher — in 1986, fantasy literature wasn’t well-known in Poland. In fact Polish readers, who were interested in fantasy, would mainly know John R.R. Tolkien’s novels like The Hobbit, Or Thete and Back Again, The Lord of the Rings or Silmarillion, all belonging to mythopoeic fantasy. Sapkowski’s story was vastly different from them, because the Polish author referred to sword and sorcery literature, which at that time was little-known in Poland. He created an interesting protagonist and a dark, vicious world, full of violence and graphic descriptions of death. It appears that one of the main factors having an influence on the huge popularity of the series, may be the attempt to shock the reader by using a unique construction of the presented world, which contains a lot of graphic violent imagery. This article presents those methods of description of death and violence in The Witcher series to present why they are so interesting to the readers and what makes them stand out from the rest of similar descriptions in Polish fantasy literature. The analysis is divided into several parts. The first part presents the influence of Sapkowski’s debut story on Polish fantasy literature. The second part contains the analysis of the dynamics of descriptions of death. The third and the fourth focus on showing the individualisation of death in The Witcher series and on detail exposure. The next part presents the narrative treatments used by Sapkowski to increase the impact of the literary images of death, for example changes of a narrative perspective. The last part of the article presents naturalistic elements of the descriptions and explains what functions they perform in the text.

Paratekst w literaturze fantasy (na podstawie glosariusza)

The content of this article falls within the textual and generic trend of research on paratext. The author describes the meaning of paratexts in fantasy literature via the example of glossaries, which fulfill a special role in the process of creating and perceiving this type of literary text. The argumentation process is subordinated to two perspectives. The first involves the sub-creation of a secondary reality — the Second World in fantasy, which from the beginning to the end grows out of the imagination of the writer and which is complete and internally consistent. In the course of reading, the reader “enters” into a completely different world from that experienced every day. What is needed, therefore, is a kind of guide that allows him to “move around” without disturbing the created universe. Paratext fulfills this function. Hence the second perspective is Gérard Genette’s thesis, according to which the paratext is identified with the text surrounding the proper text, coming from the author and remaining within the same volume (peritext), and one of its basic roles is to help in the interpretation and proper decryption of the creator’s (author’s) intentions. On the basis of the glossaries studied in fantasy texts, it can be concluded that structurally they constitute the determinants of a textual frame, and although there is no linear continuity between the main text and the glossary, considering the content that is contained in it, they serve to strengthen the coherence of the main text. In general, the presence of glossaries facilitates reading the text, allows “unmasking” the intentions of the author and categorizing elements of the plot of a specific work, a given part of the cycle or saga against the background of the whole universe.