Fantasy Genre Research Articles

Stavovi učitelja o obradi književnih dela fantastičnog žanra u nastavi

The aim of this paper is to examine teachers' attitudes towards teaching literary fantasy novels in the classroom. Given that fantasy literature, which is rich in fantastical elements, affects the creative development of the student's personality, the paper wanted to show the opinions and experiences of teachers on this matter. The descriptive method was applied in the research, the research technique is surveying, and the research instrument is a questionnaire, which was filled out by teachers. This questionnaire contains closed-ended questions, which concern teachers' interest in reading literary works of the fantasy genre and their opinion about the influence of this genre on student development. The questionnaire also contains open-ended questions, which sought to find out which literary works of fantastic literature the teachers like to read, which works they covered in class, and which works were proposed by the students. The questionnaire was also intended to determine whether teachers read what students propose in class. At the end, teachers listed the advantages and disadvantages of applying these contents in school. The research sample consists of 56 questionnaires collected during 2021. The obtained results show that the majority of teachers is not interested in reading literary works of the fantasy genre, but believe that such content positively affects the development of the child's imagination and abilities, as well as that most teachers do not read literature recommended by students. Also, the results show that teachers teach literary works of fantasy genre in the younger grades of primary school, although they do so very rarely.

Of men and the "Ruling Ring": Destructive resilience of Sri Lanka's executive presidency

In this article, I use Tolkien’s three-volume novel <em>The Lord of the Rings </em>as an allegory to elucidate the extent of the hegemonic power accorded<em> </em>to the executive president by the 1978 Constitution of Sri Lanka. For this<em> </em>purpose, I compare the nature of the power dynamics resulting from the<em> </em>executive presidency with that of the ‘One Ring’, which allows its wielder the<em> </em>power to overpower the novel’s world. I draw parallels between their design<em> </em>and the effect upon those who possess them. However, the significance of<em> </em>delving into the nuances of this comparison between law and literature<em> </em>lies not only in its capacity to elucidate the current power dynamics of<em> </em>the executive presidency but also in its potential to challenge these power<em> </em>dynamics. Fantasy literature is especially important in this regard because<em> </em>the function of the fantasy genre is to defy convention, defy the status<em> </em>quo, and imagine the impossible. Therefore, I approach fantasy literature as<em> </em>a form of literary resistance. Focusing on law, the capacity to imagine new<em> </em>visions for justice plays a significant role in the development of the law.<em> </em>I explore what <em>The Lord of the Rings </em>can offer in attempts to dismantle the<em> </em>powers concentrated in the executive presidency. With this aim, I interpret<em> </em>the novel’s quest to destroy the ring as a saga of persistent resistance<em> </em>and apply this interpretation to the Sri Lankan attempts at abolishing and<em> </em>limiting the powers of the presidency so far.<em></em>

Information system for extraction of information from open web resources

The purpose of the work is to develop a project of an information and reference system for finding answers to questions based on the highest degree of comparison using text content from open English- language web resources. Examples of such questions can be: “What is the best book ever?”, “What is the most popular IDE for Python”. The result of the functioning of the information and reference system is a ranked list of answers based on the frequency of appearance of each of the answer options. Also, a numerical characteristic of the probability of the preference of a particular answer over others is added to each element of the list. Based on this metric, the obtained results are ranked. This information and reference system works with questions to which there is no unequivocal answer, what differs it from classic information systems for finding answers to questions of the QA-system type. The latter have a hypothesis that there is only one true answer to the question, often such systems work with well-known facts. Examples of questions they answer can be, for example, the date of birth of a famous person, or the population of a certain country. Instead, the proposed information and reference system answers subjective questions, for example, “What is the best book in the fantasy genre?” or “What is the best programming language?”. The system is based on the popularity of one or another answer. Proper names based on the analysis of N-grams are also keywords for forming the answer to the question.

Policing the Borribles: conjunctural crisis and moral panic in children’s literature

ABSTRACT Michael de Larrabeiti’s controversial series of novels for youth (published in 1975, 1981, and 1986) about the Borribles, children who grow feral and live in anarchic communities in London, were influential for the urban fantasy genre. The novels describe a fictional fantasy subculture but nevertheless engage with issues of the rise of a law-and-order society in the U.K. in the 1970s and police harassment of black youth. Drawing from the work of the Birmingham Centre for Contemporary Cultural Studies, the paper argues that the trilogy represents an imaginary political solution, grounded in anticapitalist, antiauthority, and antiracist ethics, to the conjunctural crisis of the 1970s and the rise of Thatcherism. The paper reads the structure of feeling of Borrible culture and argues how its narrative functions through a series of displacements to engage with racist police tactics, anarchist squats, and anticapitalist and antiwork ethics.

Fantasy for solo clarinet by Jorg Widmann: composer vs performer

Statement of the problem. The relevance of the research topic is related to the need for a comprehensive study of J&amp;#246;rg Widmann’s musical creative work, in particular in the aspects of compositional and performing activities and an indepth performing analysis of his Fantasy for solo clarinet. Analysis of recent research and publications. The study is based on the works that examine the creativity of composers of the 20th century (Gromchenko, Vovk, Metlushko, Odom, Rehfeldt, Teixeira); the creative work of J. Widmann (Bruhn, Besthorn, Reyes, Dierickx); of the fantasy genre (Nikolaievska &amp; others), as well as an interview with the composer (Wollenweber; Wilsom, Fein, Christopher). The main objective of the study is to perform a performing analysis of the selected composition in terms of mutual influences of the artist’s compositional and performing styles. The scientific novelty is related to the formation of the author’s algorithm of the performing analysis and its application to the selected composition based on one’s own interpretation. The author’s algorithm includes such stages as intellectual, technological and synergistic, which allows one to fully understand the genre and style concept of the composition and the way of its implementation. Research methodology is based on an analytical approach (performing analysis), genre, style and system approaches are also involved. Results. The intellectual stage of the performing analysis made it possible to find genre principles and their individual manifestation in J. Widmann’s creativity. The manifestation of intertextuality is marked by constant allusions to the famous compositions by C. M. Weber, J. Brahms, R. Schumann, K. Stockhausen, I. Stravinsky or instrumental compositions; performance influence – through the manifestation of the improvisational nature of performing thinking (in particular regarding the metrorhythmic organization of Fantasy) and the concert nature of the compositions, which led to the choice of means of expression, themes, tempos, theatricality, and the effectiveness of the opus. The form of Fantasy is defined as a contrastive-composition, the importance of a harmonious solution is emphasized. The technological stage of the performing analysis touches upon the issues of the instrument, technological features of performance (multiphonics, playing in the lowest register of the clarinet in the nuance of ppp, creating a loud noise from the valves of the instrument, clicking keys, working with a fast tempo, contrasting dynamics, double-tongue technique for playing sixteenths, etc.). Conclusions contain a synergistic stage of performing analysis. Thus, it is indicated that Fantasy presents the development of certain features that consistently characterize the compositional and performing style of J. Widmann. Emphasis is placed on the organic combination of composing and performing in the creative work of J. Widmann and the significant influence of the performer’s sense of time and space on the creation of his compositions, it is indicated that the parity of both types of creativity determines their mutual enrichment. Such features of the composer’s creativity as the synthesis of tradition/ innovation, intertextuality, concert performance, intellectualism, the diversity of the composer’s legacy and the breadth in the involvement of instruments, styles, and themes are singled out as well as the manifestation of the improvisational nature of performing thinking, the influence of the performing time-space feeling on the creation of compositions. We have named the following features of J. Widmann’s performing style: virtuosity, thorough approach to ease of performance; inquisitiveness, working with different timbres, attention to dynamics and tempos; awareness of harmony as the foundation of the organization of the composition; working with sound, feeling its plasticity, living breath, overtone colours; intellectualism of performance, which is manifested in a clear idea of the structure of the composition, accentuation of caesuras, other punctuation marks of performing formation.

Crossing the Walls: Reading Doris Lessing’s The Memoirs of a Survivor as a Hopeful Dystopia

Abstract Lessing’s short novel The Memoirs of a Survivor encapsulates all the dominant narrative, political, and philosophical preoccupations of its prolific author. Straddling the genres of socio-realistic dystopia and post-apocalyptic fantasy, it self-consciously reflects on many questions relevant to contemporary readers. Drawing on the main premises of postmodern poetics, particularly on its ontological concerns, and on more recent theories about new ‘critical dystopias’ in literature, this article points to the multi-layered utopian aspects present at different levels of the text. Moreover, applying philosophical and sociological concepts of Jean Baudrillard to the interpretation of Lessing’s symbolic and narrative strategies, such as his notion of the alienation of death in capitalist society, the article shows how this novel can be read not only as a critique of materialist culture and a study of deprivation and isolation with serious psychological and civilizational consequences, but also as a hopeful play with ontological borders implied in the imaginative rethinking of our private and shared realities.

한국 판타지 TV드라마의 장르문법과 담론의 의미화

This study aims to pay attention to 2013 for the study of the fantasy genre of Korean TV dramas. This is because in 2013, works that could be the prototype of the fantasy genre appeared, and since then, it has become an important starting point for forming the genre grammar of the Korean fantasy genre. In 2013, the four most popular works, &lt;Master's Sun&gt;, &lt;My Love from the Star&gt;, &lt;I Can Hear Your Voice&gt;, and &lt;Nine-Times Time Travel&gt;, were studied to capture the meaning of the current genre grammar and discourse of fantasy TV dramas.

Solarpunk – w stronę świetlanej przyszłości

This article is devoted to solarpunk, a literary genre that emerged at the end of the second decade of the 21 st century. The main research tools are ecocriticism and cultural comparative studies, allowing the inclusion of other fields of science in the research of literature, such as: history, anthropology, sociology or ecology. In this article, I analyze solarpunk within other fantasy genres. I am discussing the novel Ecotopia by Ernest Calenbach and the Brazilian collection of short stories, Solarpunk. Ecological and Fantastical Stories in a Sustainable World. Anthology. Contrary to post-apocalyptic works or climate fiction, the creators of solarpunk believe that modern technology will help overcome the ecological crisis by promoting the idea of sustainable development. It is worth emphasizing that solarpunk, like steampunk, applies not only to literature, but also to lifestyle (the idea of slow life). Solarpunk creates a futuristic vision of the world after the energy transformation. In the presented world, the space of the state ceases to play a key role, what matters is the community, a group of people who can change the surrounding reality. Solarpunk criticizes capitalism and the consumer lifestyle. By promoting the idea of sustainable development, the creators of this genre do not reject modern technology, but try to find a balance between the real and virtual world. It is worth noting that the American solarpunk is utopian, while Brazilian creators are less optimistic, because in the energy transformation they see threats related to possible armed conflict, immoral experiments or the production of modern biological weapons.

Representing quarantine on film: fearing the monster inside

ABSTRACT Fictional representations of contagion, that is epidemic or pandemic in film, mainly fall within the genres of fantasy, horror, or science fiction, while their narratives focus on fear and panic, on disturbance of the social equilibrium. Approaching the film interpretations of the subject from the perspective of biopolitics as it is understood by Giorgio Agamben, this paper explores how media products of the postmodern era, created several decades apart and originating from different productions and geopolitical circumstances, interpret the idea of isolation in quarantine as a means of questioning the nature of humanity. Variola Vera, a Yugoslav film from the 80s, produced in Eastern Europe at the peak of postmodernism is juxtaposed against the most recent To the Lake, a TV show produced in Russia and distributed on Netflix. As fictional representations of epidemics, they demonstrate a clear and consistent pattern in the portrayal of disease and quarantine, deploying tropes of the outbreak narrative in constructing the texts and relating it to the postmodern horror film. Before all, theyask the question “If one is not a human being, what is one?” when the social management of contagion is conceived spatially: as quarantine, as isolation.”

The Theme of Magic in Andrzej Sapkowski’s The Witcher Saga Cycle of Novels

The role of magic in Andrzej Sapkowskiʼs fantasy series “The Witcherʼs Saga” has been studied in the article. In his text, the author focuses on the types of magic, magical rituals, and the magic of the annual cycle holidays. The magical rituals which form the composition of the novels have been researched.The peculiarities of the writerʼs perception of the sphere of magic have been revealed. It has been proven that the image of magic is closely related to reality and has signs of aetiology (the key difference between myth and fairytale).The importance of magic in the construction of the fantasy genre in the example of “The Witcherʼs Saga” by A. Sapkowski has been highlighted and compared with other fantasy narratives. One of the defining features of “The Witcherʼs Saga” is that the protagonists are born from magic. The article studies how the magical origins of the protagonists influence their development and story.Magic in A. Sapkowskiʼs novels is not only sorcery. It is also associated with the impact of one person on another, the impact of a human being on nature and is an important component of rituals. These facts prove the mythologization of A. Sapkowskiʼs text.It has been highlighted that in A. Sapkowskiʼs octalogy features of neomythologism are connected with the depiction of fantastic creatures whom A. Sapkowski gives human traits, such as the ability to love. Love in A. Sapkowskiʼs novels is the strongest magic because the highest manifestation of magic is the magic of human relationships.

Current Problems and the Ways to their Solution (on the Basis of Lewis Carrol’s Alice’s Adventures in Wonderland and Through the Looking-Glass)

We are living in the Multiverse realized in artistic phenomena, ontological states, revolutionary scientific discoveries and assumptions, and other areas of being. For instance, contemporary popular and nongenre literature base on the plural structure of the fictional Universe. Interpersonal conflicts escalated into interworld battles, interplanetary collisions have become the base of the fantasy genre, and hidden parallel dimensions are more and more often collapsing in various forms and interpretations. Despite the fact that multiple Universe structure has a form and appearance of modern artifact, the vision of the Universe as a plurality is a deep and ancient tradition that stretches us back to the Middle Ages and beyond. The Medieval period marks the time of development of typography which made it possible to fix the contemporary worldview in a clearer way. The investigations of Nicholas of Cusa, Giordano Bruno, and other thinkers opened the closed structure of the Universe, assuming an existence of infinity of the worlds. The literature of the Middle Ages represented the worlds’ plurality in a similar way but due to the theological foundations of the epoch. The ideology was based on the duality and contrasting of antonymous principles such as Heaven and Hell, Light and Dark, Spiritual and Physical, Sacred and Sinful. One of the basic values of the Middle Ages lies in the establishing of the divine and spiritual as an “objective” form of reality. The current article reveals the paradigm of the development of the phenomenon of plural worlds in theology, philosophy, modal logic, and literature studies. Also, it highlights the main principles of multiple fictional Universe constructing. Lewis Carroll’s “Alice’s Adventures in Wonderland” and “Through the Looking-Glass” brightly reflect the multiple worlds’ structure. Considering all features of the principles of this plurality, we obtained the conclusions which demonstrate the function of multiple worlds, which not only discovers it in a decorative way but also has an identifying role at the personal level and at the level of the individual world.

Beowulf as Children’s Literature ed. by Bruce Gilchrist and Britt Mize (review)

Reviewed by: Beowulf as Children’s Literature ed. by Bruce Gilchrist and Britt Mize Alexandra Garner (bio) Bruce Gilchrist and Britt Mize, eds. Beowulf as Children’s Literature. U of Toronto P. 2021. Bruce Gilchrist and Britt Mize’s collection Beowulf as Children’s Literature effectively brings together many disparate fields and discourses, from assessing historical perspectives on Beowulf’s appropriateness for children, to examining particular case studies of children’s or young adult retellings, to considering representations of femininity in iterations with illustration. The nine included essays display an impressive range, approaching Beowulf adaptation/s for children conceptually and practically over the last two centuries of literary publication. The volume also includes Gilchrist’s fairly exhaustive bibliography of versions of Beowulf made for or marketed to children, as well as Mize’s interview with Rebecca Barnhouse and James Rumford, two authors of recent children’s adaptations of Beowulf. The collection traces two major threads: first, a historical focus, and second, essays on method and message. These two strands characterize the challenges with approaches to and adaptations of Beowulf as children’s literature—one that scholars working in children’s and young adult literature contend with regularly—which Mize precisely identifies in the Introduction to the volume: “a perception that children’s adaptations of long-appreciated literature will be only subtractive and attenuating, instrumental in purpose, and therefore analytically uninteresting” (5). The included essays demonstrate that Beowulf’s children’s adaptations and retellings are anything but, and show the nuances of different approaches to this single text in its many and varied remediations, adaptations, and recontextualization. Mize’s introduction disclaims this outdated perspective on adaptation directly, distancing the volume from fidelity discourses and identifying instead the dual challenge of remaking Beowulf for readers both modern and young. Despite this assertion that the volume focuses on what can be gleaned from considerations of Beowulf for children rather than question how faithful such adaptations are, discussions of authenticity, fidelity, and “genuine” medievalism do appear throughout the collection. Some, like Mize’s essay, “Beowulf, Bèi’àowǔfǔ, and the Social Hero” as an example, embrace the dialogic relationship [End Page 338] between the antecedent work and its Chinese adaptation to shine new light on the literary and cultural significance of the medieval poem. By re-experiencing the familiar Beowulf through the lens of its Chinese adaptation, Mize argues, we discover and must contend with different value systems at work with regard to heroism, identity, and community. Several of the included essays address this tension between familiar and unfamiliar in retellings and remediations of Beowulf, also touched upon by both Barnhouse and Rumford in their interview, “The Practice of Adapting Beowulf for Younger Readers.” Both Barnhouse and Rumford describe the challenges of retaining enough of the narrative, themes, and medievalism for it to be recognizably Beowulf while also adapting to their particular authorial agenda. Amber Dunai also examines the folkloric elements common to Beowulfs both medieval and modern in her essay “Tolkien, Beowulf, and Faërie: Adaptations for Readers Aged ‘Six to Sixty.’” Dunai adeptly navigates the complexities of these apparently contradictory perspectives in her assessment of the suitability of Beowulf texts for certain demographics of audiences, and how such attempts to categorize or restrict readership reveal implicit biases, priorities, and approaches regarding intended or expected audience. As an influential figure in the fields of medieval studies (and medievalism), fantasy genre studies, and children’s and young adult literature, Tolkien’s approach impacts subsequent literary and popular perspectives, and Dunai’s thoughtful essay thus will prove useful to many working in related fields. This preoccupation with the difference between literature for all and literature specifically for children is another sub-theme to the collection, which Barnhouse and Rumford explore from a publishing perspective while other essays engage it more academically. This is, of course, a question central to and inherent in the study of children’s and young adult literature; like the “Middle Ages” from which Beowulf originates, like the concept of the child itself, children’s literature is an entirely constructed and mutable category. Yvette Kisor’s “Children’s Beowulfs for the New Tolkien Generation,” examines the literary and aesthetic medievalisms that...

INSTRUMENTAL FANTASY IN THE 20TH CENTURY: VARIATIONS ON THE GENRE-STYLE GENOTYPE

The article is devoted to the problem of the transformation of the genre gene survey of instrumental fantasy in musical creativity of the 20th century. The research methodology is based on cultural and systemic approaches, which allows to present fantasy in several dimensions: ontological (philosophical meaning), pragmatic (genre structure) and interpretive (play with an invariant, original work, etc.), which is proven on individual examples. The scientific novelty of the study consists in presenting fantasy as a system that combines the ontological, communicative and interpretive nature of the genre. It was revealed that the ontological nature is revealed through structural, linguistic and dramaturgical signs of improvisation and freedom; genre (genre composition) through the basic indicator that combines freedom of presentation and development of the main musical material (theme, thematic complex, etc.); the communicative meaning appears to direct the attention of both the performer and the listener to the principle of creative freedom, or a certain “game”, which becomes the main idea in the work. Finally, the interpretive meaning is emphasized due to the presence of the type of “fantasy on themes”, re-intonation, combination of the fantasy genre with other genres, which is often noted by the author himself - sonata-fantasia, waltz-fantasia, quasi fantasia, etc., which is evidence of the work of fantasy as a principle of special “world perception” and “world creation” both by itself and based on established linguistic and dramaturgical norms of another genre.

Legitimate Peripheral Participation by Novices in a Dungeons and Dragons Community

Introduction Dungeons &amp; Dragons (D&amp;D) is a cooperative tabletop roleplaying game in which players gather together to tell stories. Expert players have a wealth of experiences and game knowledge from which to draw upon while playing the game. Novices, on the other hand, have little experience to depend on when navigating the first few gaming sessions. Objectives The primary objective of this investigation was to describe how different novices become socialized to the D&amp;D culture in this small community at the beginning of a new gaming campaign. Methods The present study is a cross-sectional qualitative participant observation of D&amp;D novice socialization through the lens of communities of practice (CoP). Observation and interviews of two experts and five novice fifth edition D&amp;D players revealed interactions and choices made by players related to the dissemination of cultural and practical knowledge and the fluidity of player and character identity within the scope of observed gameplay. Results The results showed that for some novices explicit in-game training was required to learn their role at the table, but socialization could come more quickly for novices who took extra steps to gain experience by engaging in the wider distributed and virtual community through online forums or viewing streamed actual-play D&amp;D games. Three interaction types—player-to-player, player-to-dungeon master (DM), and character-to-character—for three distinct purposes—understanding game mechanics, describing scenes, and interacting in narrative—were observed. Additionally, the character choices regarding gender and in-game actions were explored. Conclusion The cooperative nature of D&amp;D can afford novices explicit training from expert players at the table. However, as was observed during the game and confirmed in the interviews, socialization into this D&amp;D gaming community also came from legitimate peripheral participation of the novices who engaged in the wider, virtual D&amp;D community through online forums, actual-play streams and podcasts, and general knowledge of the fantasy genre.

Features of the reflection of computer technologies and social networks in fiction and fantasy cinema in the XIX – early XXI centuries

The article is devoted to understanding the specific features of the reflection of computer technologies and social networks in the works of science fiction writers and in films made as part of development of the fantasy genre. In their work, the authors give a brief description of the essential aspects of the functioning of computer technologies and social networks. The article examines the degree of significance of the above phenomena for the effective development and existence of human civilization as a whole, and also analyzes the essence of social networks as a cultural phenomenon that has a significant impact on the development of social relations. This study indicates the inconsistency of the statement according to which the fantasy genre is not an essential segment of world art and demonstrates the need to take into account such works when understanding the technological development of human civilization and the evolution of relations in society towards the online mode. In this paper, the features of displaying the development of technology in science fiction literature and adventure fiction are analyzed with a comparative analysis of the difference in approaches in these two components of the fantasy genre. The study also comprehends the reasons for the lack of serious interest in displaying the analogue of social networks in fiction literature and cinema, and provides a justification for changes in this issue in the early 1980-s. This article examines the characteristic features of the dynamics of the reflection of the development of social networks in fiction literature at the end of the XX – first decades of the XXI century, taking into account changes in public relations in this period.

СВІТОГЛЯДНІ УНІВЕРСАЛІЇ В ХУДОЖНЬОМУ ПЕРЕКЛАДІ

The article is devoted to the study of the peculiarities of rendering linguistic manifestations of worldview universals in English-Ukrainian literary translation. The fantasy genre as the material of the study proves to be the author’s embodiment of worldview universals, which, in their interaction and connection, set a holistic, generalized image of the human world. Worldview universals are categories that accumulate historically stored social experience. The system of worldview universals is the space in which a person of a certain culture evaluates, interprets and experiences the world, integrates all the phenomena of reality that appear in the sphere of his experience. It has been proved that the fantasy work of J. Rowling is represented by the opposition of the “good” and the “evil”, which are constituted by the realities of the magical world. The results of the structural-semantic analysis of the thematic groups of the worldview universals that create the philosophical concept of the fantasy work and the lexical units that actualize them made it possible to set the following groups of realities: onomastic realities, everyday realities, ethnographic and mythological realities, the realities of the state-administrative system and public life. The comparative analysis of the peculiarities of translation of the realities of the magical world suggests that the translator resorts to different translation techniques: actually descriptive translation, as well as various combinations of descriptive translation: transcription and descriptive translation in the translation commentary, transcription and descriptive translation in the text of the work, graphic transfer (preserving the original writing) and descriptive translation in the text of the work, calque translation and descriptive translation in the translation commentary.

Fantasy Formula in Romance Movies: Beauty and the Beast (2017) and Aladdin (2019)

Popular literature is an entertaining work and is widely loved by the public. This study focuses on formula analysis of fantasy genres identified from the Beauty and the Beast (2017) and Aladdin (2019) movies seen from several scenes in both movies. The films is an interesting fantasy genre movies because although the movies is different, it has the same formula. This research uses a comparative descriptive method with a qualitative approach to present data analysis. In addition, this study also used several theories from Saricks (2009) to examine the formula of the fantasy genre and the theory of comparative literature from Wellek and Warren's (1942). The study reveals that there are four points of the fantasy genre formula that have something in common in these two movies. First, in the Characteristics of Belle and Jasmine who are brave women and have an adventurous spirit. Second, the same Storyline between the two movies where both are the same against enemies who want to kill the main male characters. Third, the same Frame Setting contains magical elements. Finally, in both movies there are tense scenes that quickly turn into humorous scenes or in the fantasy genre formula called Pacing. From the results obtained by the researchers, it was concluded that in both movies there are elements of fantasy formula. These formulas then make fantasy movies into films that are great demand and liked by the audience.

Platformized Seriality: Chinese Time Travel Fantasy from Prime-time Television to Online Streaming

While seriality has long been associated with broadcast and cable television, the global rise of online streaming has brought development of what I call platformized seriality: assemblages of online platform infrastructure design, content regulation, generic convention, and experimentation. The notion of platformized seriality points to a complex refiguration of specific media content and genre forms that are usually overlooked in platform studies. This essay analyzes time-travel serials—now immensely popular in the context of China’s growing video-streaming industry, convergence culture, and the financial boom of digital platforms. Analyzing the trope of the female time traveler in historical romance, this essay examines how chuanyue, or the Chinese time-travel genre, subtly unsettles contemporary gender-related anxiety and the dominant discourse on development and progress, something that partly explains the pleasure it generates. The genre of chuanyue benefited from the rise of platform infrastructure designs such as bullet screens and pay-on-demand-in-advance services that direct new forms of audience engagement and new practices of binge-watching. Focusing on the fantasy genre and the mutability of the time traveler’s gender, sexuality, and class, I explore how the trope of traveling backward marks a reconfiguration of conceptions of time, space, and history and thus opens a space to negotiate with the neoliberal narratives of linear and progressivist temporality.

Women (Re)Writing Milton

Women (Re)Writing Milton

МИФОЛОГИЧЕСКОЕ НАСЛЕДИЕ СКАНДИНАВСКИХ ЛЕКСЕМ В РОМАНЕ-ФЭНТЕЗИ О. СКОТТА «TWILIGHT OF THE GODS»

The current fantasy genre is inspired by the folklore and mythological tradition whose heritage is investigated in the article using the example of Scandinavian lexemes. The subject for research is a fantasy novel Twilight of the Gods by O. Scott. It describes the events taking place in Sweden at the beginning of the 13th century, when the crusade of Conrad the White was going to eradicate paganism. A large number of Scandinavian lexemes are used in the novel: they are given in italics with all the diacritical marks and special letters that were traditionally found in the Old Norse language: ð, á, ú, é, æ, ó. In total, there are 30 different lexemes in the novel, but the article turns to the most frequent ones. Based on the results of the work, it is concluded that the use of traditional words not only diversified the text of the novel Twilight of the Gods adding some folklore colors to it, but also showed the beauty of the northern European languages.