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Reading the Fantastic Imagination Reading the Fantastic Imagination Reading the Fantastic Imagination: The Avatars of a Literary Genre Edited by Dana Percec Reading the Fantastic Imagination: The Avatars of a Literary Genre Edited by Dana Percec This book first published 2014 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2014 by Dana Percec and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5387-9, ISBN (13): 978-1-4438-5387-3 TABLE OF CONTENTS Foreword ................................................................................................. viii Introduction .............................................................................................. xv It’s a Kind of Magic Dana Percec Part I: Fantasy: Terms and Boundaries Chapter One ................................................................................................ 2 Fantasy: Beyond Failing Definitions Pia Brînzeu Chapter Two ............................................................................................. 39 Gothic Literature: A Brief Outline Francisco Javier Sánchez-Verdejo Pérez Chapter Three ........................................................................................... 57 From Fantastic Twilight to Fifty Shades Fanfiction: Not Another Cinderella Story… Codruţa Goşa Chapter Four ............................................................................................. 77 Fantasy and the Unicorn in Iris Murdoch’s The Unicorn and Tracy Chevalier’s The Lady And The Unicorn Dana Percec Part II: Critical Fantasy Chapter Five ............................................................................................. 96 Dystopian Realms of the 2000s: The Road and Never Let Me Go Cristina Chevereşan Chapter Six ............................................................................................. 112 South African Speculative Fiction Luiza Caraivan vi Table of Contents Part III: The Fantastic Imagination on Film Chapter Seven ......................................................................................... 132 Six Impossible Things Before Midnight: Gothic Fantasy in Tim Burton’s Alice In Wonderland Daniela Rogobete Chapter Eight .......................................................................................... 156 Son, Lover and Scapegoat: The Progression of Horror in Tim Burton’s Edward Scissorhands Adriana Răducanu Chapter Nine ........................................................................................... 169 Lady and the Alien: Avatars of an Iconic Duo Gabriela Glăvan Chapter Ten ............................................................................................ 182 Subjectivity (Un)Plugged: The Matrix (1999) Eliza Claudia Filimon Part IV: Vampires and Machines Chapter Eleven ....................................................................................... 200 Out of This World: (Arch)Angels as the New Vampires? Nalini Singh’s Angels’ Blood Andreea Şerban Chapter Twelve ....................................................................................... 218 Steampunk: Discovering Old and New Attractions Andreea Verteş-Olteanu Part V: Fantasy and Beyond Chapter Thirteen ..................................................................................... 242 Fantasy Theme Analysis: Rhetorical Visions of Immigration in the British Press Irina Diana Mădroane Reading the Fantastic Imagination vii Endnote ................................................................................................... 266 Contributors ............................................................................................ 268 Index ....................................................................................................... 272 FOREWORD The purpose of this collection of essays is that of observing the very hybridity of the fantastic genre, as a typical postmodern form. The volume continues an older project originated by the editor and a large number of the contributors, to investigate the current status of several popular genres. The success of the historical novel and historical narratives was the focus of a volume published in Romanian (Percec 2011). In a second book, the same group of academics mulled over the controversy surrounding one of the most disparaged of genres, romance (Percec 2012). The scrutiny continues in this third volume, dedicated to the fantastic imagination and the plethora of themes, moods, media, and discourses deriving from it. The volume comprises five parts and thirteen chapters, researchers from Romania, Spain, and Turkey investigating the evolution of the fantastic genre from its early days, in the late 18th century, to the contemporary mixed discourses of horror, steampunk, and children’s literature, and from fan fiction to fantasy theme analysis. The contributors invite readers with an interest in fantasy, researchers and students in literary studies to re-read long forgotten stories, to discover British, American, and South-African authors and film directors, and to reflect on the versatility of the fantastic imagination. Pia Brînzeu opens the collection, with a theoretical chapter, Fantasy: Beyond Failing Definitions, which does not offer, despite the title, another definition of fantasy. First, because nobody can provide a universally valid definition of fantasy, of the fantastic, or of fantastic fiction, and second, because a single, stable definition of these concepts is not even desirable. Although scientists have developed sophisticated methods of investigation, formulating theories of high standard, they could neither offer a satisfactory definition of fantasy nor agree on the genres, supergenres, and subgenres of fantasy fiction. Most often such works as The Castle of Otranto, Frankenstein, or Dracula–to use only three of the most famous examples–are approached separately as primary works of gothic, horror, or fantastic literature. Then why do critics strive with so much difficulty to find the right definition of fantasy? And what is the use of a definition? Definitions are needed to delimit or characterize the territories scholars want to explore in their desire to answer one or several of the questions referring to what fantasy and fantasy fiction are, how Reading the Fantastic Imagination ix fantasy worlds are created, when and where the action is placed, how the process of (de)familiarization takes place, and why authors write and readers consume fantasy productions. The chapter answers these questions starting from some of the most famous definitions formulated by authors of literary-critical theories and tries to highlight the major characteristics of these troublesome concepts with the help of a larger description. Francisco Javier Sánchez-Verdejo Pérez’s chapter, Gothic Literature: A Brief Outline, offers an outline of classical Gothic fiction elements. In the field of the literary studies, what seems clear at first sight results in being surprisingly difficult to be defined. This is what happens with the so-called Gothic literature, and, in particular, with its specific development in England, a country where its nature can be quite closely limited and its evolution can be tracked, even though it is not the only country that witnessed the enthusiasm of this type of writing. Nowadays, the label “Gothic genre” suggests an immediate reference: a type of literature that spins around the macabre, the mysterious, the fantastic, everything which goes beyond the logical, beyond reason. This literature developed with a lot of profusion in the 18th and 19th centuries. Among Gothic must-haves, critics include the presence of supernatural entities, ghosts, demons, and vampires hidden deep inside the thick, dark plot. A romance would help, and so would religious and mythical beliefs and several taboos. Finally, the events of the story should make the reader wish to explore whatever exists outside the material world. It is without any doubt that writing about vampires can be a lucrative business. However, argues Codruţa Goşa, in the chapter entitled From Fantastic Twilight to Fifty Shades Fan Fiction: Not Another Cinderella Story… writing about sex can be even more lucrative, as the tremendous success of E.L. James’ Fifty Shades-sexually-loaded-fan-fiction trilogy seems to show, at least when it comes to record setting in the number of copies sold or the rush of turning it into a film. And even though the source of Fifty Shades is admittedly the fantastic vampire series Twilight, it explicitly moves away from fantastic to contemporary romance. In the chapter, Codruţa Goşa proposes an analysis which has a twofold purpose. On the one hand, it aims to document the claim that the main characters in the fan fiction trilogy are implicitly as “fairy-tale” fantastic as those in the source text, in spite of the fact that they are no longer vampires or vampires in the making. On the other hand, it aims to substantiate the argument that it is sex that has contributed crucially to the huge success of the Fifty Shades fan fiction. To this end the chapter explores the strategies that Stephanie Meyer and E.L. James employed when creating their texts. Both series are analyzed
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