Qunhua's week5

According to Lent (2000), what place does animation occupy in Asian societies? How different is this across Asia (ie comparing China & Japan)?


According to Lent (2000), in china, the first animation work was produced by four Wan brothers in Shanghai  and urproar in a studio in 1926. This work had very American style.  In 194, their another full-length cartoon, Princess with the iron fan which is an ancient fairy story. Then,  Beijng Opera also has influence to Mickey Mouse and Felix the Cat.

Comparing with China, Japan;s premier animator- Tezuka Osamu started his career of animation. For him, the power influence from west. For early animation of Asia was the prevalence of a western influence.  Many Asian animation characters are from western cartoon. For example, the smiling monkey was termed a copy of Mickey Mouse. Tezuka of Japan also is not an exception.  With the developing of animation in Asian countries, Chinese animation became more traditional, Chinese culture and traditions are becoming more and more features in Chinese works.  On the contrary, for most Japanese consumer of anime, their culture is no longer a purely Japanese one.

The development of Asian animation has a systematic process which does comprise four systematic, i.e. work-for hire animation, move to co-productions, Dominance of foreign animation, Animation’s fit to Asian societies.  Especially, the influence of Asian societies, illustrated China and Japan. Politically, filmed cartoons have served governmental and bureaucratic goals, particularly in China, most Chinese animation stressed morals, such as wholehearted service to the people (The panda’s shop); promoted campaigns or exposed enemies of the state, such as the Gang of Four in One night in an art gallery (1978). In economic terms, animation also found its niche in parts of Asia. Especially, for Japan, the animation products has become an very important industry. Culturally, animation was moulded to Asia through the use of indigenous artistic styles and techniques, such as paper fold, paper-cut, and ink and wash in China and Japan. In Asian countries, animation have become a symbiotic, in Japan, manga and anime feed off each other.

 (2005) supports this by suggesting that “Harry Potter books encourage children to rebel against their parents... and to assume power for themselves” which is frightening for any parent, especial
Referencds
Lent, J.A. (2000). Animation in Asia: appropriation, renterpretation, and adoptionor adaptation. Retrieved 21 June, 2006, from Anime Research.com.

Week 6: Finally, with reference to Cavallaro (2006), what distinguishes Mononoke technically as being – it is generally agreed – a great work of anime?

Cavallaro (2006) discusses several reason of which can contribute to the total successful of Mononoke Hime on technical terms. Fristly, its characteristic historical setting is based on the mythology and legends in the land itself in the changing era of Japan since the fourteenth centuries (Drazen, as cited in Cavallaro, 2006). Secondly, Cavallaro (2006) extracts director Miyazaki opinion of delivering the message to the younger audiences frankly in other to tell that both adults and children are not living in a “blessed world”, that we “share the same despair” in the human society (p.121). Director Miyazaki also wanted to say through the anime that the stereotyping of ‘bad people’ is not the people who carry out the forest cut down; in fact they are all hard-workers (ibid). Least but not last, to make the anime more realistic, there are more animation cels which allow the fluid of movement and facial expression while keeping the animals not being “cuter than the real thing” (Callavaro, 2006, p.126). Finally, according to the author, 90% of the anime was produced from animation cels. The other 10% was digitally created by software, however, keeping the feel of animation cels without the feel of digital like Toy Stories. Another reason for this work to be made with traditional crafts is, as Atsushi Okui (as cited in Cavallaro, 2006) states: “if digitalization keeps progressing the way it is, eventually the job of the cameraman for animated films may disappear. … We wanted to make it a compilation of nonconputerised animation techniques” (p. 130).

Reference:

Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. London: McFarland & Company.

Week 5: Is it a high or low cultural genre/media, according to Napier (2005)?

Despite the different in perception of anime between being a subculture in America and mass culture in Japan, Napier (2005) suggests that it will gain more and more popularity. As Treat (as cited in Napier, 2005) says the cultural value is changeable, she argues that anime is originally built on cinematography which is a high cultural tradition worldwide. Moreover, Napier (2005) picks up anime aim to portrait contemporary issues as well as diversity in targets of the popular audience. Anime also influent the world’s popular culture regarding American perspective. For example, Napier (2005) mentions a scholar would go so far as labelling anime as “chief cultural export” (p.5). There are also fan clubs and commercial promotion integrate with anime on television programs (ibid). In the end, despite being regard as low culture in America, Napier (2005) believes that anime will become a high cultural media with the never ending development.

References:

Napier, S. (2005). Why anime? In Anime: from Akira to Howl’s Moving Castle (pp.3-14). Hampshire: Palgrave/ Macmillan.

Qunhua's week 4

Why does the religious right in the US condemn fantasy, according to Cockrell(2004)? On what grounds does Cockrell defend fantasy literature, using Harry Potter as an example.

According to Cockrell (2004), why does the religious right in the US condemn fantasy, one reason may be the popularity, almost everywhere Harry Potter exists. Another reason may be a recent shift in the focus of censorship effort s from sex to the occult. For American religion groups, Taylor and Carlson note that many fundamentalist Christian parents associate their kids with the devil when they insist their own place at the dinner table.  When children read too much about Harry Potter  who start to question their beliefs and religions, social values of parents. Children began to oppose treason. 

According to Cockrell(2004), Dumbledore makes magic indeed sound like philosophy, however, magic is just magic which lacks a god or a devil at the heart of it. Because of it, liberal, theologians have no trouble with Harry. At the last of article, “Harry frightens only those who want the answer to be the same every time the question is asked. In Rowling’s world, the answer is not the same.”

References

Cockrell, A. (2004). Harry Potter and the Witch hunters: a social context for th attacks on Harry Potter. The Journal of American Culture, Vol 29, No. 1

Teu Week 6

What are the underlying thematics of Princess Mononoke? How does it ‘defamiliarise’ its historical setting, according to Napier (2005)?

One of the main themes of 'Princess Mononoke' is the environment. The focus being primarily on the animals and the rainforest. 'San' being the one of the protagonists in the story was brought up by wolves, this consequentially amounts to her being on the side of her family (the wolf pack). 'San' also known as 'Princess Mononoke' is a strong willed girl, who fights very hard for her home. When referring to the film Napier states "this is a film about love in many aspects - love of nature, love of family, love between the sexes- but it is also a film about 'the extent to which love involves loss of many kinds'" (p.236) This brings me to another main theme, fight between nature and human kind. 'San' never having lived with humans, is patently fighting against the humans. The boy 'Ashitaka' fights for both sides, he has been cursed by a spirit demon which is the reason for his involvement in the fierce battle.

'Ashitaka' falls in love with 'San', this partly complicates matters as she is strictly on the side of the forest. 'Ashitaka' still doesn’t take sides but helps the two sides equally and in the end finds a way to solve both matters. I think this film defamiliarises the historical setting by having the film set in 'The Muromachi period' according to Napier ‘The Muromachi period is usually considered to be an apex of Japanese high culture, when well-known cultural products like the tea ceremony, Noh theater, and Zen-inspired landscape gardens reached their most brilliant form. It was also an era of relative peace.’ Napier (p.233) This was a time where there were momentous changes in history, the fourteenth century was a time where people changed their views from the supernatural, spiritual and religion to means of leadership and money. This period was a very significant time in Japanese history. Another thing that defamiliarised historical settings were the various female leaders, for example 'Lady Eboshi' is the leader of Tatara, a city made by 'Eboshi' where females are free from protitution and where lepers can live freely with the acceptance of the towns people. Another leader is 'San' who is a strong girl who plays a huge part in the battle. Napier(2005) explains that "Princess Mononoke uses female characters who exist in their own right, independent of any male and these independent females are not domesticated by marriage or a happy ending but are instead interested in living separate but quite fulfilling lives, San with her companions in the natural world & Eboshi with her industrializing community."(p.246)

Napier, S. (2005). Anime: from Akira to Howl’s Moving Castle. Hampshire: Palgrave Macmillan.

Miyazaki, H. (Director). (2006) Princess Mononoke. Tokyo: Studio Ghibli Productions.

Bex Week 3

How does Attebery (1980) define Fantasy? Find at least five definitions. 

The writer and the reader have to be committed to the world in which the story takes place. As Tolkien calls it a “secondary belief”. A fantasy story has to be consistent in its setting, style, characters, the magic and law of the world in which it is based.

    Fantasy has to treat its departure from our world (either in the world its set e.g. Middle Earth, in its magic e.g. Harry Potter or any other fantastical departure) as though it were true. As Attebery says; “without hesitation, without doubt.” It just is.

    But first of all there has to be some departure from our own laws, our own world. W.R. Irwin says there has to be “an overt violation of what is generally accepted as possibility.”

    A lot of fantasy works involve the battle of good vs. evil. What fantasy does best is draw the lines clearly between what is right and what is wrong, between who is good and who is bad so that, unlike our world, we can see and trust and believe in whom we wish. Attebery says; “That is one of the most important accomplishments at which fantasy can aim… comprehensible form to life, death, good and evil…”

    Fantasy as a genre is still a narrative story, it involves characters and plot which endangers those characters so that we care about and are concerned for what happens.

Bex Week 2

According to Horricks (2004), how have perceptions of comics as a media changed?

In the 1950’s there were campaigns in Britain and America against comics. These weren’t just from conservatives but also from liberals and it even spread to New Zealand. People from all walks of life including teachers, politicians and parents bought their anti-comic opinions to newspapers and Parliament. They were against comics because of the violence depicted within them and that comics “erode the most fundamental habits of humane, civilised living…”. 

    However, like many things, people slowly got used to comics and through general persistence they are now reviewed in such newspapers as the New York Times. Landfall magazine has published comics and they’ve even won Pulitzer Prizes.

    Still, comics have trouble being considered as worthy literary and art forms. Horricks argues that without serious consideration, by just dismissing them and being “disturbed or bewildered” we cannot fully understand new art forms. Theatre during the 15^th century was hounded by purist Protestants in the same way that comics were during the 15^th century. Now, both are engrained in our lives. 

Bex Week 1

According to the second Farr extract (p.50-59), how did Hergé research China for ‘The Blue Lotus’?

He searched for pictures of the “real China” and used them as basis of his scenes. The detail goes so far as to have posters in the background of scenes written in Chinese that actually say things like; “Down with Imperialism!” and “Electric Workshop Siemens.” Hergé also sketched the poses and activities everyday Chinese people did. Like a painter he studied the architecture and dress of the Chinese. 

    His biggest influence was a new Chinese friend, called Chang who informed him of China’s history and politics. Chang also introduced him to Chinese poetry which would’ve give Hergé an insight into the social and spiritual life of Chinese people. 

    Seeing this other side of the Chinese people it would’ve been hard to continue writing and drawing them in a stereotypical manner. Hergé also used real events within ‘The Blue Lotus’, such as the Moukden Railway Incident, and with astonishing accuracy, accidentally predicted real events to come. 

Andrea week3

How does Attebery (1980) define Fantasy? Find at least five definitions.
1, Fantasy presupposes a view of exterior reality which it goes on to contradict.

2, Any narrative which includes as a significant part of its make-up some violation of what the author clearly believes to be natural law is fantasy.

3, fantasy can involve beings whose existence we know to be impossible. e.g. dragons. Fantasy treats impossibilities without hesitation and doubt to make us believe that such things could under any circumstances come true.

4, Fantasies which contradict, not accepted model of the world , but rather the model generated within the story itself. Fantasy is what is more generally termed nonsense or absurdity.

5, Fantasy invokes wonder by making the impossible seem familiar and the familiar seem new and strange. In this way, fantasy can take advantage of our curiosity.

How is science fiction different from fantasy, according to Le Guinn ( http://www.ursulakleguin.com/PlausibilityRevisited.html)?

By demanding a straightforward treatment of impossible characters, objects, or events, we can distinguish between fantasy and related genres. Science fiction spends much of its time convincing the reader that its seeming impossibilities are in fact explainable if we extrapolate from the world and the science that we know. But fantasy takes all the impossibilities as granted.

How do English and American constructions of fantasy diverge, according to Attebery?

Ruskin’s, MacDonald’s , Morris’s and Lewis’s are all taking the legacy of the traditional fairy tales, but Tolkien’s work is not only a extension on discussing fairy tales in terms of memorable detail but concerned with the movement of the tale, and its progression toward the ultimate and all-important happy ending.

Teu Week 5

What is the ‘shojo’ and how does it often function in anime?

The ‘shojo’ basically means young female, in the few anime that I have seen the ‘shojo’ has been a essential character to the film. I recently watched the anime ‘Arrietty’ and ‘My Neighbor Totoro’ in these two films the protagonists are both ‘shojo’. I like the way Tamae Prindle describes the ‘shojo’ as “a shallow lacuna between adulthood and childhood, power and powerlessness, awareness and innocence as well as masculinity and femininity” Prindle (1998, P.35). I think this depiction of the ‘shojo’ is on point, I completely agree with Prindle in this analysis. In the Anime ‘Princess Mononoke’ the protagonist is a male warrior that comes across a ‘shojo’ this shojo being ‘San’ also known as ‘Princess Mononoke’. San is strong and brave, she is very loyal to her home which is the forest and her family or you could say pack as she is living with wolves. I have found that the ‘shojo’ has many functions in Anime, sometimes the ‘shojo’ is the protagonist and usually the love interest. I personally really love the ‘shojo’, I have found out of the few Anime I have watched I have enjoyed the ones where the ‘shojo’ is the main character, I liked ‘Arrietty’ and ‘My Neighbor Totoro’ over ‘Porco Rosso’ and ‘Princess Mononoke’ but in saying that I very much enjoyed them all.

Cavallaro, D. (2006). Introduction. In The Anime Art of Hayao Miyazaki (pp.5-13). London:

McFarland & Company

Miyazaki, H. (Director). (2006) Princess Mononoke. Tokyo: Studio Ghibli Productions.

Miyazaki, H. (Director). (1988) My Neighbor Totoro. Tokyo: Studio Ghibli Productions

Miyazaki, H. (Director). (1992) Porco Rosso. Tokyo: Studio Ghibli Productions

Yonebayashi, H. (Director). (2010) Arrietty. Tokyo: Studio Ghibli Productions

Andrea Week4

Why does the religious right in the US condemn fantasy, according to Cockrell (2004)? On what grounds does Cockrell defend fantasy literature, using Harry Potter as an example?

In Cockrell (2004), she pointed out an argument that is Harry Potter a literature or a manual for the evil arts? The most noticeable reason of the religious right in the US condemns fantasy is the content of fantasy literatures is not exactly follow the scripture. Although “not reality, doesn’t diminish its power to change beliefs and values” (Kjospa.5-6), besides even we both know those fantasy stories are not real, the setting in Harry Potter’s world is too close to our life. He somehow is living in where we live. In other way, the target audiences of most fantasy literatures are kids or teenagers, they haven’t got their own norm, value and beliefs. So in this case, not only the religious right in the US but also the parents think these are some pitfalls there may lead some serious problems.

Using Harry Potter as an example, at begin of the article Cockrell defines that Harry Potter is just like the other popular literature like the lord of the ring, most famous Cinderella and so on. She thinks the reason why there is so many detractor out there because firstly Harry Potter is too popular, and detract Harry Porter can be a business, especially for those fans websites.

Reference

Cockrell, A. (2004). Harry Potter and the Witch Hunters: a social context for the attacks on Harry Potter. The Journal of American Culture, Vol 29, No 1

Kjos, Berit, “Twelve Reason Not to See the Harry Potter Movie.” 16 Nov. 2001. AFA online. American Family Association. 13July 2005. (http://www.afa.net/culture/bk111601.asp)

Joe Week 4

How does Tolkien (1964) define fantasy? Compare and contrast this to the other definitions from last week’s reader?
 
Tolkien defines fantasy as in fairy-stories the realm of which is wide and deep and high and filled with many things; all manner of beasts and birds; shoreless seas and stars uncounted; the enchantment of beauty and an ever-present peril; both joy and sorrow as sharp as swords.  These materialistic genres contrast with the abstract forms expressed by Attebery in our last week's reader.  Further onward, Tolkien defines a 'fairy-story' (contrasting the term 'fantasy' used by Attebery) is one which touches on or uses Faerie satire, adventure,morality, fantasy.  It is magic of a peculiar mood and power at the furthest pole from the vulgar devices of the laborious, scientific, magician.  Comparing with the mystic commotion as a whole of being fantasised as emphasised by Attebery, he went on to explain fairy stories have three faces: the Mystical towards the Supernatural; the Magical towards Nature; and the Mirror of scorn and pity towards Man.  The intensity in which the others appear is variable, and may be decided by individual story teller.  (Words 170)



Reference

Tolkien, J.R.R. (1988; 1964). On Faerie Stories. In Tree and Leaf. London: Unwin Hyman.

Week 4 Why does the religious right in the US condemn fantasy, according to Cockrell (2004)?

Amanda Cockrell (2004) suggests that the popularity of our famous boy Harry Potter, the “recent shift in the focus of censorship effort from sex to occult” and “fundamentalist parents’ ” belief of fantasy fiction as deceiving (pp. 24-25). Also from my point of view, the deep reason for religious right in the US to completely disapprove fantasy is from the influent of the ultraconservative Christian parents because as in 2009 the proportion of Christian in the US is 75% which account for the major of the US population. Taylor and Carlson (as cited in Cockrell, 2004) points out that they regard imaginary companion of their children as devil, thus, believe the successful Harry Potter fantasy fiction as a business of evil art and need to be kept away from their children.

Another point is while only Harry Potter is labelled as deceiving and all while other fantasy such as fairy tales, Wizard of Oz or even Lord of the Rings with magic-rich is approved. To fundamentalist Christian parents perception, magic will come to find the child and nothing will be stopped unlike the other totally separated fantasy worlds which have nothing to do or relate to the real world. The fairy conceptstories will remain a story whereas Harry Potter suggests that the magic relate to the real world and taking children in to the fantasy world. Cockrell (2004) explains this as Rowling fantasy exists there, along with the normal world of Muggles (non-magic people). In the first book of Harry Potter, despite everything the Duddleys family made to keep Harry away from magic, it comes to him itself, unstoppable and impenetrable. Thus, the condemn of Harry Potter in the US

Reference:

America becoming less Christian, survey finds. (2009, March 09). CNN Living. Retrieved from http://articles.cnn.com/2009-03-09/living/us.religion.less.christian_1_american-religious-identification-survey-christian-nation-evangelical?_s=PM:LIVING

Cockrell, A. (2004). Harry Potter and the Witch Hunters: a social context for the attacks on  Harry Potter. The Journal of American Culture, Vol 29, No 1

Rowling, J. K. and M. GrandPré (2003). Harry Potter and the Sorcerer's Stone, Large Print Press.

Andrea Week1

Do you think comics are a children's or adult genre/media?

I agree with Joe that this question is very controversial. Take The Adventures of Tintin as an example:

On the one hand, Tintin has influenced many generations since the first time it’s published. Tintin reminds their memories of childhoods. In this point, I think children are not the only audiences, also adults.

On the other hand, it has the variety of cultures and historical including in it. The Blue Lotus, which we learned this week introduce at the time Japanese troops were occupying parts of the Chinese mainland. Chinese elements were full of the story. That really helped people to learn different culture knowledge, both children and adults.

But additional, even most series are positive for children to read, there is still something that not good for children, such as reical stereotyping, political issues and so on. So to conclusion, comics are children’s and adult genre, most comics are good for both children and adults. But there is some part should be removed from the version for children.

Andrea Week2

What changes when a graphic novel is animated?

McCloud (1993) has defined comics as follows (right): So, very basically, comics/graphic novels consist of a series of panels or frames which we assume are ordered sequentially to form a narrative.

As one of the popular genres, graphic novel has its own special characteristics for giving an object or a phenomenon accurate description. Since the graphic novel becomes to be animated, it gives readers a lot more space to develop their imagination. And it will be more helpful for reader to grab the main point of what the artist wants people to understand.

When the picture is still, it can be boring so that reader won’t have patience on it. But things will be different when it becomes to be animated. When sounds and actions have been added into still pictures, they become more continuous so that increased the concentration of the novel. Once animated, it will be more interesting.

What audience does the animated version of The Blue Lotus target?

The animated version if the graphic novel is more proper to the young generation. The young is less patient than the adults, which leads to the fact that they won’t spend the time on the reading as they think it is boring and kind of wasting time.

“Comics are a way of creating a universe and populating it with characters using a secret code that works in the simplest and most direct way possible to enter the ‘reader’s’ brain.” (Horricks, 2004)

Therefore, we can not just treat comics simply as a story-telling process, it will be much accurate to be defined as a world-building process.

Thus ‘the cartoonist is a king of God’; he creates a whole universe in their image. “This is often an appeal drives to intimacy, nostalgia and utopianism.”

Since the traditional novels can be read and experienced through modern media like television, ads or movies, it will be more acceptable for more people especially the young generation.

Reference

Eisner, W., (1985). Comics& Sequential Arts. Poorhouse Press.

Horricks, D. (2004). The perfect Planet: comics, games and world building in Willians, M. (Ed.), writing at the edge of the Universe. Christchurch: Uof Canterbury Pess.

McCloud, S., (1993). Understanding Comics

Joe Week 3

How does Attebery (1980) define Fantasy? Find at least five definitions. 


Fantasy presupposes a view of exterior reality which it goes on to contract.  It is that any narrative which includes as a significant part of its make-up some violation of natural law.  It can involve beings whose existence is impossible, like dragons, flying horses, or shape-shifting humans.  It can revolve around magical objects, like rings hats, or castles that possess wills, voices, mobility and other qualities that these inanimate objects do not possibly possess.  It can manifest the violation of fundamental assumptions or logic about matter and life so that two people can painlessly exchange heads, a tree can grab passers-by with its branches.  Fantasy is a game that demands one party wholeheartedly accepting all rules and turns of the game while in it.  Fantasy invokes wonder by making the impossible seem familiar and the familiar seem new and strange.   To engage attention, fantasy generates suspense, presents characters' fates, appeals to our senses, and calls forth human longings and fears.  It also can engage us intellectually and morally by presenting the clash of ideas and issues in simple and concrete form.  It can clarify philosophical and moral conflicts, embodying them in story lines that can please or inspire and give comprehensive form to life, death, good, and evil.

I have attempted to find five definitions but only be able to re-iterate from the notes provided: (Attebery, 1980:2-9)

1. "the primary feature (of fantasy), without which a work simply cannot be fantasy, is "an overt violation of what is generally accepted as possibility."
2. "Fantasy .... presupposes a view of exterior reality which it goes on to contradict."
3. "Any narrative which includes as a significant part of its make-up some violation of what the author clearly believes to be natural law - that is fantasy." 
4. "Fantasy is a game of sorts, and it demands that one plays whole-heartedly, accepting for the moment all rules and turns of the game." 
5. "fantasy ....contradicts, not our accepted model of the world, but rather the model generated within the story itself. .... more generally termed nonsense or absurdity; it involves periodic overturning of the ground rules of the fiction."
6. Fantasy invokes wonder by making the impossible seem familiar seem new and strange."

References
Attebery, B. (1980). The Fantasy Tradition In American Literature: From Irving to Le Guin.  
       Bloomington: Indian University Press, 1980.

Joe Week 2

According to Horricks (2004), how have perceptions of comics as a media changed?

According Horricks (2004), the perceptions of comic have changed when ‘aesthetic grounds’ are taken into ‘serious consideration’.  Comics have always been considered cheap and inferior forms as compared with well recognised literary arts (classical literature and masterpiece paintings).  But with the non-linear innovation as shown in the comics strip, “In the Shadow of No Towers” by Spiegelman (2004), readers’ interaction is drawn in as they read through the non-linearity of panels of picture on their choice of the reading order.  The way the medium each individual author uses to convey exemplifies a kind of narration but not measured with time or space represented in the panels but their thought (a kind of ‘seme me’) – Horricks (2004). 

Through present day media, eg., television series, movies, commercial advertisements, audience are brought into the hyper reality of ‘parallel world” with the “little understood literary genre”.  Comics is an artwork built by authors (artists) through ever advancing IT to present what they wish to convey.

Perceptions of comics have changed from hostility to exclusivity and acceptance.  In the 1950s, anti-comics activities were manifested by parents, teachers and educators in form of open protests, radio broadcast, and  restrictions in school regulations, because the bad effects and influence they imposed on children's thinking and behaviour if their children were allowed unchecked what they read in their leisure hours. Bill Pearson wrote an open letter to Landfall saying, "The comics erode the most fundamental habits of humane, civilized living and .....in the most vulnerable element of our society, our children."  I can still remember that my brother and I received a beating on our behinds from our mother when we were discovered reading comics in our bed with quilt over our heads.


Nowadays, with the development of science and technology and our entire perception toward life, different dynamics in our living style are explicating in ever-changing telecommunication techniques, advancement of graphic arts and gaming machines.  Pearson's worries have disappeared to other media.  Instead, research and criticism on comics transform it as an art, as a framework to incorporate fantasy genre as a part of literature.  It is treated as a sub-creation and world-building process to "make a Secondary world which your mind can enter.  Inside it, .... it accords with the laws of that world. You therefore believe it, while you are, as it were, inside."

References

Horricks, D. (2004). The Perfect Planet: Comics, games and world-building in Williams, M. (Ed),         Writing at the Edge of the Universe. Christchurch: U of Canterbury Press


Bill Pearson, letter printed in Landfall vol. 9, no. 1, March 1955, pages 95-97 

Bloggin so far...

Hi group 7,
Well done to all of you that have been contributing to the Blog, both by adding posts and by commenting on other posts.
I have read all posts thus far and commented on them - you may want to check these comments out.
Keep it up
Esther :)

Teu Week 4

What parallels can you find between A Wizard of Earthsea and the Harry Potter franchise? What other influences does Burn (2005) suggest for Harry Potter?

I am a very big fan of 'The Harry Potter Series', I have been reading the books since 11 years old. When reading 'The Wizard of Earthsea' I noticed many parallels in the two aforementioned. For example in 'Harry Potter and the Deathly Hallows' Harry Potter finds out that in order to defeat Lord Voldemort he will have to surrender himself by allowing Lord Voldemort to kill him, in correspondence to 'The Harry Potter Series' there is 'The Wizard of Earthsea'. In the novel 'The Wizard of Earthsea' Ged embraces his inner shadow by finding out the shadows “true name” which is “Ged”, Ged grabs the concept that in order to defeat the shadow he must accept his own death and this is what frees him from his “shadowside”. There are many similarity’s in the two and this gives them parallel interests.

I think the one of the similarity’s of the two protagonists in the text are that they are both lonely. Harry Potter lost his parents when he was young and likewise, Ged lost his mother leaving the two characters to fend for themselves. Both texts being fantasy fiction gives the same sense of fictional and non-fictional setting, while giving the reader relatable characters. The texts also have the same archetypes as each other and the story lines tend to head in the same direction. Burn suggests in 'Potter-Literacy' that “The Potter phenomenon demands a cross-media literacy, attentive to both general principals and to media-specific features: but it also demands a historical and continuity.” Burn (2005).

Burn, A. (2005). Potter-Literacy – from book to game and back again; literature, film, game and cross-media literacy. Papers: Explorations into Children’s Literature Vol 14, No 3

Le Guinn, U. (1993; 1968). A Wizard of Earthsea. In The Earthsea Quartet (pp.13-167). London: Penguin.

Rowling, J. K. (2007). Harry Potter and the deathly hallows, Bloomsbury.

Teu Week 3

What are some archetypes (e.g. common character types) of fantasy fiction?

I think the archetypes of fantasy fiction are very narrow, they consist of the hero the wise teacher and the villain. These main characters are usually from different backgrounds and come together through a common interest, for example in ‘A Wizard of Earthsea’ Ged (Sparrowhawk) is a wild young man that is very powerful in his magic and in turn cannot control his magic as he is young and inexperienced and needs guidance, this guidance is given from a very strong and experienced wizard Ogion the Silent. This guidance is the same kind of help that Albus Dumbledore gave Harry Potter in the ‘Harry Potter Series’. The protagonist in fantasy fiction usually seem to come from a sheltered background and of no status, mainly a nobody/orphan that rises up to become something amazing. Harry Potter lost his parents just as Ged lost his mother, his siblings has left home and he doesn’t get on with his father.

When talking about the Age of Harry Potter Meredith Tax goes on to say “How different are the Harry Potter books really, in style and substance, from contemporary realism? Are they not parodies of same, combining realistic conventions with magical appliances and the war between good and evil?” (pp.15).

Le Guinn, U. (1993; 1968). A Wizard of Earthsea. In The Earthsea Quartet (pp.13-167). London: Penguin.

Tax, M. (Jan 28, 2002). In the Year of Harry Potter, Enter the Dragon. In The Nation. (pp.11-16).

Rowling, J.K. (1997-2007) The Harry Potter Series.