Fantasy Football University Chapter 1
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Irish Gothic Fiction
THE ‘If the Gothic emerges in the shadows cast by modernity and its pasts, Ireland proved EME an unhappy haunting ground for the new genre. In this incisive study, Jarlath Killeen shows how the struggle of the Anglican establishment between competing myths of civility and barbarism in eighteenth-century Ireland defined itself repeatedly in terms R The Emergence of of the excesses of Gothic form.’ GENCE Luke Gibbons, National University of Ireland (Maynooth), author of Gaelic Gothic ‘A work of passion and precision which explains why and how Ireland has been not only a background site but also a major imaginative source of Gothic writing. IRISH GOTHIC Jarlath Killeen moves well beyond narrowly political readings of Irish Gothic by OF IRISH GOTHIC using the form as a way of narrating the history of the Anglican faith in Ireland. He reintroduces many forgotten old books into the debate, thereby making some of the more familiar texts seem suddenly strange and definitely troubling. With FICTION his characteristic blend of intellectual audacity and scholarly rigour, he reminds us that each text from previous centuries was written at the mercy of its immediate moment as a crucial intervention in a developing debate – and by this brilliant HIST ORY, O RIGI NS,THE ORIES historicising of the material he indicates a way forward for Gothic amidst the ruins of post-Tiger Ireland.’ Declan Kiberd, University of Notre Dame Provides a new account of the emergence of Irish Gothic fiction in the mid-eighteenth century FI This new study provides a robustly theorised and thoroughly historicised account of CTI the beginnings of Irish Gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland. -
Teaching Speculative Fiction in College: a Pedagogy for Making English Studies Relevant
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Summer 8-7-2012 Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant James H. Shimkus Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Shimkus, James H., "Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant." Dissertation, Georgia State University, 2012. https://scholarworks.gsu.edu/english_diss/95 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. TEACHING SPECULATIVE FICTION IN COLLEGE: A PEDAGOGY FOR MAKING ENGLISH STUDIES RELEVANT by JAMES HAMMOND SHIMKUS Under the Direction of Dr. Elizabeth Burmester ABSTRACT Speculative fiction (science fiction, fantasy, and horror) has steadily gained popularity both in culture and as a subject for study in college. While many helpful resources on teaching a particular genre or teaching particular texts within a genre exist, college teachers who have not previously taught science fiction, fantasy, or horror will benefit from a broader pedagogical overview of speculative fiction, and that is what this resource provides. Teachers who have previously taught speculative fiction may also benefit from the selection of alternative texts presented here. This resource includes an argument for the consideration of more speculative fiction in college English classes, whether in composition, literature, or creative writing, as well as overviews of the main theoretical discussions and definitions of each genre. -
Setting in Biblical Narrative
HOW TO READ THE BIBLE: EPISODE 7 Setting in Biblical Narrative STUDY NOTES SECTION 1: INTRODUCTION TO SETTING 00:00–01:04 Jon: In every story you’ve ever heard, the action took place somewhere. And that place is called “the setting.” And since we’ve been learning how to read Biblical narrative, let’s talk about how settings work in the Bible. Tim: So settings are a crucially important tool in the hands of the biblical authors. Jon: Really? Tim: Yeah. Think of it this way: when you start a story, everything is new. The plot and the characters are a mystery, until things unfold. Jon: Yeah, we have no idea what to expect. Tim: Except authors can use the setting of a story1 to prepare you for what’s coming. Jon: How so? 1. Setting acts as a stage from which the WATCH THE “SETTING IN BIBLICAL NARRATIVE” author positions the story. It frames VIDEO AND LEARN MORE AT THEBIBLEPROJECT.COM and orientates the reader to the “when” and “where” of the story. Tim: So let’s say a story begins in a courtroom. What do you think is going to happen? Jon: I expect a story about crime and justice. Tim: Yeah. Or how about the setting of a dark, old, run-down house? Jon: Oh, something scary is about to happen. Tim: Exactly. So settings evoke memories and emotions because of other stories you know that happened in similar places. The authors know this, and they can use settings to generate expectations about what could happen in this story.2 And a good author will get creative with settings, and they’ll mess with your expectations in order to make a point. -
GURPS Dungeon Fantasy Monsters 1 Is Copyright © 2011 by Steve Jackson Games Incorporated
TM Written by PETER V. DELL’ORTO and SEAN PUNCH Illustrated by IGOR FIORENTINI, JOYCE MAUREIRA, ROD REIS, BOB STEVLIC, and JACOB WALKER An e23 Sourcebook for GURP S® STEVE JACKSON GAMES ® Stock #37-0322 Version 1.0 – June 2011 CONTENTS I NTRODUCTION . 3 GIANT APE . 16 SWORD SPIRIT . 29 About the Authors . 3 Acting Like an Ape . 16 Live By the Sword . 29 About GURPS . 3 King of the Apes . 16 Die By the Sword . 29 GLADIATOR APE . 17 THROTTLER . 30 1. THE MONSTERS . 4 Battle Rage . 17 Full Throttle . 30 Reading Monster Stats . 4 Cestus Is Bestest . 17 It’s Not Easy Being Green . 30 BRONZE SPIDER . 5 HORDE PYGMY . 18 TROLL . 31 Spiders? Try Cockroaches! . 5 Nasty, Brutish, and Short . 18 Killin’ Trolls . 31 Along Came a Spider . 5 Island of the Pygmies . 18 . and Trolls Killin’ . 31 BUGBEAR . 6 HORRID SKULL . 19 UNDEAD SLIME . 32 Lair of the Bugbear . 6 It’s a Trap! . 19 Endurance Event . 32 CIUACLÁ . 7 Unholy Hand Grenade . 19 Cage Fight . 32 Killing Death . 7 ICE WYRM . 20 VOID BRUTE . 33 CORPSE GOLEM . 8 Icing the Wyrm . 20 Serving the Masters . 33 Not-Quite-Life Is Cheap . 8 Lair of the Ice Wyrm . 20 Berserk Void Brutes . 33 That’s Just Sickle! . 8 KARKADANN . 21 WATCHER AT DEMON FROM Soothing the Savage Breast . 21 THE EDGE OF TIME . 34 BETWEEN THE STARS . 9 Karkadann Pride . 21 Time Is on Their Side . 34 Harassers From LEAPING LEECH . 22 Hero-Killers . 34 Between the Stars . 9 Harmless Nuisance . 22 Hello Darkness My Old Friend . -
Glossary of Literary Terms
Glossary of Critical Terms for Prose Adapted from “LitWeb,” The Norton Introduction to Literature Study Space http://www.wwnorton.com/college/english/litweb10/glossary/C.aspx Action Any event or series of events depicted in a literary work; an event may be verbal as well as physical, so that speaking or telling a story within the story may be an event. Allusion A brief, often implicit and indirect reference within a literary text to something outside the text, whether another text (e.g. the Bible, a myth, another literary work, a painting, or a piece of music) or any imaginary or historical person, place, or thing. Ambiguity When we are involved in interpretation—figuring out what different elements in a story “mean”—we are responding to a work’s ambiguity. This means that the work is open to several simultaneous interpretations. Language, especially when manipulated artistically, can communicate more than one meaning, encouraging our interpretations. Antagonist A character or a nonhuman force that opposes, or is in conflict with, the protagonist. Anticlimax An event or series of events usually at the end of a narrative that contrast with the tension building up before. Antihero A protagonist who is in one way or another the very opposite of a traditional hero. Instead of being courageous and determined, for instance, an antihero might be timid, hypersensitive, and indecisive to the point of paralysis. Antiheroes are especially common in modern literary works. Archetype A character, ritual, symbol, or plot pattern that recurs in the myth and literature of many cultures; examples include the scapegoat or trickster (character type), the rite of passage (ritual), and the quest or descent into the underworld (plot pattern). -
An Exploration of Afro-Southern Speculative Fiction
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 1-1-2020 Post-Soul Speculation: An Exploration Of Afro-Southern Speculative Fiction Hilary Word Follow this and additional works at: https://egrove.olemiss.edu/etd Recommended Citation Word, Hilary, "Post-Soul Speculation: An Exploration Of Afro-Southern Speculative Fiction" (2020). Electronic Theses and Dissertations. 1817. https://egrove.olemiss.edu/etd/1817 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. POST-SOUL SPECULATION: AN EXPLORATION OF AFRO-SOUTHERN SPECULATIVE FICTION A Thesis Presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of Southern Studies The University of Mississippi by HILARY M. WORD May 2020 Copyright © Hilary M. Word 2020 ALL RIGHTS RESERVED. ABSTRACT This thesis is an examination of female authored, post-soul, Afro-Southern speculative fiction. The specific texts being examined are My Soul to Keep by Tananarive Due, Stigmata by Phyllis Alesia Perry, and Sing, Unburied, Sing by Jesmyn Ward. Through exploration of these texts, I posit two large arguments. First, I posit that this thesis as a collective work illustrates how women-authored Afro-Southern speculative fiction based in the post-soul era embodies and champions womanist politics and praxis critical for liberation through speculative elements. Second, I assert that this thesis is demonstrative of how this particular type of fiction showcases the importance of specificity of setting and reflects other, often erased facets of African American identity and realities by centering the experiences of contemporary Black Southerners. -
Response: Hamartia in Greco-Roman Context
“Go and sin no more”? Brad Jersak QUESTION: In your blogpost, Missing What Mark? you mentioned that the traditional understanding of the Greek word translated “sin” is missing the mark. You suggested that the mark in question is not moralistic perfection. Instead, you said, the mark, goal or telos of humanity is union with God. Therefore, sin is not so much law-breaking behavior, but rather, turning away from the loving care of God. Repentance, then, would essentially involve turning from alienation and returning to the Father’s house and reconciling ourselves to his loving care. If I’ve understood you, does this approach still align with the literal sense of hamartia? RESPONSE: First, yes, you’ve understood me perfectly. And simply put, my approach to missing the mark is within the semantic range of hamartia since the word does literally mean missing the mark or to err. The thing is, hamartia never specifies what the mark refers to. A recipe of original context and our preferred theology determine what mark we’ve missed. As for hamartia or any other foreign term, we need to remember that when we translate ancient words, we aren’t using ancient dictionaries. We explore how the word is used in context—or rather, its various contexts over time, since the word may be used in different ways in different times and places. Hamartia is complex because it has multiple uses both within the Bible and elsewhere in Greek and Roman literature. I did some further fact-checking, which itself always warrants double- checking in the primary sources. -
Introduction
INTRODUCTION The wuxia film is the oldest genre in the Chinese cinema that has remained popular to the present day. Yet despite its longevity, its history has barely been told until fairly recently, as if there was some force denying that it ever existed. Indeed, the genre was as good as non-existent in China, its country of birth, for some fifty years, being proscribed over that time, while in Hong Kong, where it flowered, it was gen- erally derided by critics and largely neglected by film historians. In recent years, it has garnered a following not only among fans but serious scholars. David Bordwell, Zhang Zhen, David Desser and Leon Hunt have treated the wuxia film with the crit- ical respect that it deserves, addressing it in the contexts of larger studies of Hong Kong cinema (Bordwell), the Chinese cinema (Zhang), or the generic martial arts action film and the genre known as kung fu (Desser and Hunt).1 In China, Chen Mo and Jia Leilei have published specific histories, their books sharing the same title, ‘A History of the Chinese Wuxia Film’ , both issued in 2005.2 This book also offers a specific history of the wuxia film, the first in the English language to do so. It covers the evolution and expansion of the genre from its beginnings in the early Chinese cinema based in Shanghai to its transposition to the film industries in Hong Kong and Taiwan and its eventual shift back to the Mainland in its present phase of development. Subject and Terminology Before beginning this history, it is necessary first to settle the question ofterminology , in the process of which, the characteristics of the genre will also be outlined. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Fantasy AGE – Monster Creation/Balance Guide Monster Abilities Are Similar, but Slightly Different V.0.31 to PC Abilities
Abilities / Focuses Fantasy AGE – Monster Creation/Balance Guide Monster Abilities are similar, but slightly different v.0.31 to PC Abilities. When building a monster, keep in mind the important bits. -- Accuracy : Gives a bonus 'to hit' with ranged attacks. (Lv.X Monster Name – Difficulty) Communication : Unless your monster is intelligent enough to talk, giving Focuses or even points in here is Abilities / Focuses only important for flavor. 0 Accuracy 0 Communication Dexterity : Allows for the Focuses 'Running', 'Stamina', 0 Constitution and 'Swimming' and will adjust a Monster's defense. 0 Dexterity 0 Fighting Fighting : Gives a bonus 'to hit' with melee attacks. 0 Intelligence 0 Perception Intelligence : Adjusts damage and ability to use 0 Strength magjyickal attacks. Important for magjyickal based 0 Willpower monsters. Also determines number of attacks the monster is capable of. Combat Attributes Defense HP Speed Armour Perception : Important for PCs who prefer to stealth after a failed encounter, or sneak up to their enemies. Animalistic monsters may have a heightened Perception for hunting prey. Attacks Strength : Increases damage on successful attacks. Willpower : Used to resist a large number of magjyickal attacks from PCs or other monsters. Stunts Stunt Name Stunt Abilities Extra Building Abilities / Focuses For the sake of balance against PCs, monsters will be built with a set of numbers similar to them. These numbers are based off of a 'Difficulty System' similar to Draugrs & Dank Places' Monster Level (Lv.X) Challenge Rating. -- Many times in this document, 'Monster Level' will Easy : These monsters are weak enough to be be referenced. This is either a static number considered non-entities, or are built for swarm decided before monster creation, or the average of tactics. -
Important Elements in Narrative Text
Important Elements in Narrative Text Narrative Comprehension and Literary Terminology Story-grammar components, based on the research of Mandler and Johnson (1977), Rumelhart (1977), Thorndyke (1977), Stein and Glenn (1979), and Trabasso and van den Broek (1985), define the typical structure of a fiction story. In studies of retellings, story events were found to occur in a similar pattern from story to story. The elements of narrative comprehension and literary terminology are listed and defined below. PLOT: “Plot is a sequence of events that occurs to characters in situations in the beginning, middle, and end of a story” (Hancock, 2004, p. 136). SETTING: The setting provides the reader with relevant information about the location and time of the story. The author usually gives a description of the time and place. A discussion of the setting is important to prepare the readers for the story. CHARACTERS: At the beginning of the story, along with the setting, the main characters are introduced. The goals of the main characters drive the plot of the story (i.e., goals, attempt/actions, and outcomes). INITIATING EVENT: The transition from the initial setting occurs when an initiating event causes a change of state in the story. If the initiating event did not occur, the story would stay in the setting. Each narrative contains an initiating event. EPISODES: The goal, attempt, and outcome sequences form the episodes of the story. GOAL: The goal is a reaction of the main character to the initiating event. The goal is what the character desires or wants in the story. A character’s goal may be unstated. -
Fantasy Literature: Definition”
Written version of the lecture Malin Alkestrand: “Fantasy literature: Definition” What is fantasy literature? This is a question that has been debated and answered in numerous studies on fantasy literature, but a quick overview of the studies shows that there is not one simple answer to this question. Different scholars mention different criteria for the genre, and they include different literary works in their descriptions of the genre. However, there are a few basic aspects that they all define as central for fantasy literature. In the following, I will discuss a few different definitions of fantasy literature that clarify the most central characteristics of the genre. To begin with, I want to point out that there is a difference between fantastic literature and fantasy literature. Fantastic literature includes all kinds of literature that do not rely on a mimetic description of a world that is similar to reality, such as fantasy literature, science fiction, and horror (Irwin 1976:55). Fantasy literature, on the other hand, is one of the genres included within the wider concept of fantastic literature, but it displays genre characteristics which makes it very different from science fiction, for example. Whereas science fiction literature describes a possible future with advanced technology that does not yet exist, but could potentially exist in 10, 100 or 1000 years, fantasy literature portrays worlds where the supernatural exists (see James & Mendlesohn 2012:3). Magic, magical creatures, spells, and dragons introduce a world that does not follow the natural laws that govern our own reality. According to William Robert Irwin (1976:155) fantasy literature can be understood as the result of presenting the supernatural as real and always present.