{"title":"Campbell, Lori M., Ed.: A Quest of Her Own: Essays on the Female Hero in Modern Fantasy","authors":"C. Coker","doi":"10.5860/choice.187177","DOIUrl":"https://doi.org/10.5860/choice.187177","url":null,"abstract":"","PeriodicalId":164640,"journal":{"name":"Journal of the fantastic in the arts","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131005951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Curtis, Claire P.: Postapocalyptic Fiction and the Social Contract: \"We'll Not Go Home Again.\"","authors":"M. Masucci","doi":"10.5860/choice.48-3728","DOIUrl":"https://doi.org/10.5860/choice.48-3728","url":null,"abstract":"","PeriodicalId":164640,"journal":{"name":"Journal of the fantastic in the arts","volume":"316 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116639988","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hill, Annette. Paranormal Media: Audiences, Spirits and Magic in Popular Culture. Abingdon: Routledge, 2010. 224 pp. Paperback. ISBN: 978-0-415-54463-4. $39.95. Annette Hill opens her accessible and wide-ranging "popular culture ethnography of the paranormal" (12) with the assertion that since the second millennium, British and American popular culture domains have undergone a "paranormal turn" (1). In this shift, audiences, battered by individual and/ or national traumas and motivated by consumption and lifestyle trends rather than religious beliefs, engage with interactive media in search of "experiences that they believe go beyond reality" (13). In the mainstream paranormal popular culture that Hill explores, personal experience is in and of itself evidence of the unknown, even as the absence of extraordinary events is one of the most prominent feature of paranormal media (77-81). In this space of anticipation and possibility, audiences collaborate with each other and with various forms of communication (online, on television, on stage, and in person) to produce their understanding of the extra-ordinary, the disquieting, and the inexplicable. For Hill, the performative relationship required of participants in paranormal domains inspires audience reflexivity about the meaning and value of experience, a reflexivity that she emulates in this analysis of paranormal media texts and their reception. Hill positions Paranormal Media within a spectrum of previous scholarship on the social history of ghosts and haunting/haunted places (e.g., Avery Gordon's Ghostly Matters and Owen Davies's The Haunted: A Social History of Ghosts), as well as cultural analyses dedicated to deciphering metaphors of fragmentation and disembodiment rife in contemporary paranormal technologies (e.g., Jeffrey Sconce's Haunted Media and Marina Warner's Phantasmagoria: Spirit Visions, Metaphors, and Media into the Twenty-first Century). Within the book, she orders her nine chapters in a progression of ethnographic encounters from the private/individual (e.g., "Armchair Ghost Hunters," "Psychic Tourists") to public/group (e.g., "Beyond Magic," "The Audience is the Show") experiences of popular culture. Throughout ethnographies that evolve from the personal to the communal, Hill interweaves features of the contemporary paranormal turn with its late nineteenth-century predecessor. These strategies not only place history and nostalgia at the center of a range of contemporary paranormal audience practices, but also reinvigorates the duality of the term "medium" as a reference to individuals who claim they can communicate with the world beyond our reality and also the technological means by which communication is transmitted between "spirit talkers" and their audiences (25). The link between paranormal conceptions of reality, the unknown, and the immaterial and the translation of those conceptions into representational practices (whether on stage, on screen, or in everyday life) rein
{"title":"Hill, Annette. Paranormal Media: Audiences, Spirits and Magic in Popular Culture","authors":"Jules Odendahl-James","doi":"10.5860/choice.49-0093","DOIUrl":"https://doi.org/10.5860/choice.49-0093","url":null,"abstract":"Hill, Annette. Paranormal Media: Audiences, Spirits and Magic in Popular Culture. Abingdon: Routledge, 2010. 224 pp. Paperback. ISBN: 978-0-415-54463-4. $39.95. Annette Hill opens her accessible and wide-ranging \"popular culture ethnography of the paranormal\" (12) with the assertion that since the second millennium, British and American popular culture domains have undergone a \"paranormal turn\" (1). In this shift, audiences, battered by individual and/ or national traumas and motivated by consumption and lifestyle trends rather than religious beliefs, engage with interactive media in search of \"experiences that they believe go beyond reality\" (13). In the mainstream paranormal popular culture that Hill explores, personal experience is in and of itself evidence of the unknown, even as the absence of extraordinary events is one of the most prominent feature of paranormal media (77-81). In this space of anticipation and possibility, audiences collaborate with each other and with various forms of communication (online, on television, on stage, and in person) to produce their understanding of the extra-ordinary, the disquieting, and the inexplicable. For Hill, the performative relationship required of participants in paranormal domains inspires audience reflexivity about the meaning and value of experience, a reflexivity that she emulates in this analysis of paranormal media texts and their reception. Hill positions Paranormal Media within a spectrum of previous scholarship on the social history of ghosts and haunting/haunted places (e.g., Avery Gordon's Ghostly Matters and Owen Davies's The Haunted: A Social History of Ghosts), as well as cultural analyses dedicated to deciphering metaphors of fragmentation and disembodiment rife in contemporary paranormal technologies (e.g., Jeffrey Sconce's Haunted Media and Marina Warner's Phantasmagoria: Spirit Visions, Metaphors, and Media into the Twenty-first Century). Within the book, she orders her nine chapters in a progression of ethnographic encounters from the private/individual (e.g., \"Armchair Ghost Hunters,\" \"Psychic Tourists\") to public/group (e.g., \"Beyond Magic,\" \"The Audience is the Show\") experiences of popular culture. Throughout ethnographies that evolve from the personal to the communal, Hill interweaves features of the contemporary paranormal turn with its late nineteenth-century predecessor. These strategies not only place history and nostalgia at the center of a range of contemporary paranormal audience practices, but also reinvigorates the duality of the term \"medium\" as a reference to individuals who claim they can communicate with the world beyond our reality and also the technological means by which communication is transmitted between \"spirit talkers\" and their audiences (25). The link between paranormal conceptions of reality, the unknown, and the immaterial and the translation of those conceptions into representational practices (whether on stage, on screen, or in everyday life) rein","PeriodicalId":164640,"journal":{"name":"Journal of the fantastic in the arts","volume":"159 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115219808","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Rezension: Schmid, Sonja, Im Netz der Filmgenres : The lord of the rings und die Geschichtsschreibung des Fatasygenres. Marburg 2014","authors":"S. Spiegel","doi":"10.5167/uzh-142265","DOIUrl":"https://doi.org/10.5167/uzh-142265","url":null,"abstract":"","PeriodicalId":164640,"journal":{"name":"Journal of the fantastic in the arts","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115782964","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Rockoff, Adam. Going to Pieces: The Rise and Fall of the Slasher Film, 1978-1986","authors":"S. Skelton","doi":"10.5860/choice.40-1437","DOIUrl":"https://doi.org/10.5860/choice.40-1437","url":null,"abstract":"","PeriodicalId":164640,"journal":{"name":"Journal of the fantastic in the arts","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121456778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Steinberg, Marc. Anime's Media Mix: Franchising Toys and Characters in Japan","authors":"Hongmei Li","doi":"10.5860/choice.50-0114","DOIUrl":"https://doi.org/10.5860/choice.50-0114","url":null,"abstract":"","PeriodicalId":164640,"journal":{"name":"Journal of the fantastic in the arts","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114748449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The works of Diana Wynne Jones consistently break genre expectations regarding the age of the protagonists and a secondary characters. Some texts, such as Dark Lord of Derkholm with its cross-generational heroes, violate the genre's expected relationship between the age of the implied reader and that the protagonists. In other other texts, including Hexwood, the protagonist's true age is hidden from everyone, including the protagonist himself. These two texts aren't unusual in a body of work which includes timeshifting flashbacks, adults regressed to toddlers, and a century-old adolescent. This paper explores the function of age and expectation in Jones' works, primarily focused on this pair of texts. It examines how a text with an adult or age-shifting protagonist implies a child reader in a genre with fairly solid conventions for protagonist age. It examines the texts' building of sympathy for mixed-generational groups, instead of presenting adults as antagonists, mentors, or parental figures. It explores how the reader's interpretation of a protagonist does or doesn't change when that character belatedly shifts from young adolescent young adult. Finally, this paper examines the unusual nature of all of these treatments of age, and examines them in the context of fixed genre expectations.
{"title":"Disrupted Expectations: Young/old Protagonists in Diana Wynne Jones's Novels","authors":"D. Kaplan","doi":"10.5072/ZENODO.74239","DOIUrl":"https://doi.org/10.5072/ZENODO.74239","url":null,"abstract":"The works of Diana Wynne Jones consistently break genre expectations regarding the age of the protagonists and a secondary characters. Some texts, such as Dark Lord of Derkholm with its cross-generational heroes, violate the genre's expected relationship between the age of the implied reader and that the protagonists. In other other texts, including Hexwood, the protagonist's true age is hidden from everyone, including the protagonist himself. These two texts aren't unusual in a body of work which includes timeshifting flashbacks, adults regressed to toddlers, and a century-old adolescent. This paper explores the function of age and expectation in Jones' works, primarily focused on this pair of texts. It examines how a text with an adult or age-shifting protagonist implies a child reader in a genre with fairly solid conventions for protagonist age. It examines the texts' building of sympathy for mixed-generational groups, instead of presenting adults as antagonists, mentors, or parental figures. It explores how the reader's interpretation of a protagonist does or doesn't change when that character belatedly shifts from young adolescent young adult. Finally, this paper examines the unusual nature of all of these treatments of age, and examines them in the context of fixed genre expectations.","PeriodicalId":164640,"journal":{"name":"Journal of the fantastic in the arts","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125539551","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.5040/9781474248655.0045
Grace L. Dillon
IN ARCHEOLOGIES OF THE FUTURE, FREDERIC JAMESON BRIDGES THE SCHISM between science fiction and fantasy by recalling Claude Levi-Strauss's discussion of "thinking Indians," specifically the Algonquin/Ojibwa, whose metaphorical totemic narratives display the allegorical mind necessary to navigate the imagined divide (61). Similarly, in the definitive book on Canadian sf and fantasy, David Ketterer points to native myth-making and Indian and Inuit peoples' folktales and legends as a major source of Canadian speculative literature, whose allegorical "consequential other worlds" emphasize spatial and temporal "otherness" reinforced by "the human other" and concentrate not only on alienation but also on the "recognition of constraints and respect for the powers of Evolution, History, and Nature" (166-167). Brian Attebery reconstructs aboriginality in sf as the indigenous Other becoming a part of the textual unconscious "always present but silenced and often transmuted into symbolic form" (387). He sees sf as a contact zone that "links [Aboriginal] traditional oral literatures with a high-tech or post-tech future" (402). Whether or not we will remain satisfied with these categories, fantasy, sf, and speculative fiction often rely on so-called "cautionary tales" to depict dystopic worlds where the slavish embracing of advancing western technologies leads to environmental decay. And, increasingly, tellers of cautionary tales are juxtaposing the technologically compromised natural order with native and indigenous worldviews, as Attebery, Ketterer, and Jameson observe. Further refining distinctions, we sometimes include this emerging movement within the larger category of "postcolonial sf" because it reintroduces "indigenous" elements that fifteenth- through twenty-first-century colonization has marginalized. Drawing on First Nation Ojibwa/Anishinaabe tradition invoked by Jameson, we might go further and characterize postcolonial sf's cautionary tales as "ceremonial worlds." Environmental philosopher Jim Cheney defines ceremonial worlds as "worlds or stories within which we live, the worlds--myths if you like--that have the power to orient us in life" ("Truth, Knowledge" 110). Cheney implicitly points to the primacy of storytelling in the transfer of indigenous knowledge, where story functions as ceremony to preserve tradition--specifically, proper custom and practice. Examples are manifold throughout Native American experience, but in maintaining focus on the Ojibwa/Anishinaabe, one might consider the compilations archived by Basil Johnston (Ojibway Ceremonies; Ojibway Heritage). Ojibwa stories tend to exercise an allegorical spirit while explaining the origins and usage of natural resources, such as the tale of "Mandamin" (corn). Many stories detail the habits of animals, who are considered to have spirits and equal "personhood" status with humans. The tale of the little girl and grandmother picking blueberries illustrates the use of story to pass down kn
{"title":"Indigenous Scientific Literacies in Nalo Hopkinson's Ceremonial Worlds","authors":"Grace L. Dillon","doi":"10.5040/9781474248655.0045","DOIUrl":"https://doi.org/10.5040/9781474248655.0045","url":null,"abstract":"IN ARCHEOLOGIES OF THE FUTURE, FREDERIC JAMESON BRIDGES THE SCHISM between science fiction and fantasy by recalling Claude Levi-Strauss's discussion of \"thinking Indians,\" specifically the Algonquin/Ojibwa, whose metaphorical totemic narratives display the allegorical mind necessary to navigate the imagined divide (61). Similarly, in the definitive book on Canadian sf and fantasy, David Ketterer points to native myth-making and Indian and Inuit peoples' folktales and legends as a major source of Canadian speculative literature, whose allegorical \"consequential other worlds\" emphasize spatial and temporal \"otherness\" reinforced by \"the human other\" and concentrate not only on alienation but also on the \"recognition of constraints and respect for the powers of Evolution, History, and Nature\" (166-167). Brian Attebery reconstructs aboriginality in sf as the indigenous Other becoming a part of the textual unconscious \"always present but silenced and often transmuted into symbolic form\" (387). He sees sf as a contact zone that \"links [Aboriginal] traditional oral literatures with a high-tech or post-tech future\" (402). Whether or not we will remain satisfied with these categories, fantasy, sf, and speculative fiction often rely on so-called \"cautionary tales\" to depict dystopic worlds where the slavish embracing of advancing western technologies leads to environmental decay. And, increasingly, tellers of cautionary tales are juxtaposing the technologically compromised natural order with native and indigenous worldviews, as Attebery, Ketterer, and Jameson observe. Further refining distinctions, we sometimes include this emerging movement within the larger category of \"postcolonial sf\" because it reintroduces \"indigenous\" elements that fifteenth- through twenty-first-century colonization has marginalized. Drawing on First Nation Ojibwa/Anishinaabe tradition invoked by Jameson, we might go further and characterize postcolonial sf's cautionary tales as \"ceremonial worlds.\" Environmental philosopher Jim Cheney defines ceremonial worlds as \"worlds or stories within which we live, the worlds--myths if you like--that have the power to orient us in life\" (\"Truth, Knowledge\" 110). Cheney implicitly points to the primacy of storytelling in the transfer of indigenous knowledge, where story functions as ceremony to preserve tradition--specifically, proper custom and practice. Examples are manifold throughout Native American experience, but in maintaining focus on the Ojibwa/Anishinaabe, one might consider the compilations archived by Basil Johnston (Ojibway Ceremonies; Ojibway Heritage). Ojibwa stories tend to exercise an allegorical spirit while explaining the origins and usage of natural resources, such as the tale of \"Mandamin\" (corn). Many stories detail the habits of animals, who are considered to have spirits and equal \"personhood\" status with humans. The tale of the little girl and grandmother picking blueberries illustrates the use of story to pass down kn","PeriodicalId":164640,"journal":{"name":"Journal of the fantastic in the arts","volume":"124 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115613731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The occult mind: magic in theory and practice","authors":"Leon Marvell","doi":"10.5860/choice.45-2557","DOIUrl":"https://doi.org/10.5860/choice.45-2557","url":null,"abstract":"","PeriodicalId":164640,"journal":{"name":"Journal of the fantastic in the arts","volume":"93 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121143382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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