Fairytale fantasy is a subgenre of fantasy. It is distinguished from other subgenres of fantasy by the works' heavy use of motifs, and often plots, from fairy tales or folklore.
Fairytale fantasy is a subgenre of fantasy. It is distinguished from other subgenres of fantasy by the works' heavy use of motifs, and often plots, from fairy tales or folklore.
Literary fairy tales were not unknown in the Roman era: Apuleius included several in The Golden Ass . Giambattista Basile retold many fairy tales in the Pentamerone , an aristocratic frame story and aristocratic retellings. From there, the literary fairy tale was taken up by the French 'salon' writers of 17th century Paris (Madame d'Aulnoy, Charles Perrault, etc.) and other writers who took up the folktales of their time and developed them into literary forms. The Grimm brothers, despite their intentions being to restore the tales they collected, also transformed the Märchen they collected into Kunstmärchen.
These stories are not regarded as fantasies but as literary fairy tales, even retrospectively, but from this start, the fairy tale remained a literary form, and fairytale fantasies were an offshoot. Fairytale fantasies, like other fantasies, make use of novelistic writing conventions of prose, characterization, or setting. [1] The precise dividing line is not well defined, but it is applied, even to the works of a single author: George MacDonald's Lilith and Phantastes are regarded as fantasies, while his "The Light Princess", "The Golden Key", and "The Wise Woman" are commonly called fairy tales.
This genre may include modern fairy tales, which use fairy tale motifs in original plots, such as The Wonderful Wizard of Oz and The Hobbit , as well as erotic, violent, or otherwise more adult-oriented retellings of classic fairy tales (many of which, in many variants, were originally intended an audience of adults, or a mixed audience of all ages), such as the comic book series Fables . It can also include fairy tales with the plot fleshed out with characterization, setting, and fuller plots, to form a child's or young adult novel.
Many fairytale fantasies are revisionist, often reversing the moral values of the characters involved. This may be done for the intrinsic aesthetic interest, or for a thematic exploration. Writers may also make the magic of the fairy tale self-consistent in a fantasy re-telling, based on technological extrapolation in a science fiction, or explain it away in a contemporary or historical work of fiction.
Other forms of fantasy, especially comic fantasy, may include fairy tale motifs as partial elements, as when Terry Pratchett's Discworld contains a witch who lives in a gingerbread house, or when Patricia Wrede's Enchanted Forest is rife with princesses and princes trying to fit in their appointed fairy tale roles.
The settings of fairytale fantasies, like the fairy tales they derive from, may owe less to world-building than to the logic of folk tales. Princes can go wandering in the woods and return with a bride without consideration for all the political effects of royal marriages. A common, comic, motif is a world where all the fairy tales take place, and the characters are aware of their role in the story, [2] occasionally even breaking the fourth wall.
Other writers may develop the world as fully as in other subgenres, generating a work that is also, based on setting, a high fantasy, historical fantasy, or contemporary fantasy.
Authors who have worked with the genre include such various figures as Oscar Wilde, Kathryn Davis, A. S. Byatt, Italo Calvino, Angela Carter, Donald Barthelme, Robert Coover, Margaret Atwood, Kate Bernheimer, James Thurber, Isaac Bashevis Singer, Rikki Ducornet, Robert Bly, and Katie Farris.
Gothic fiction, sometimes called Gothic horror, is a loose literary aesthetic of fear and haunting. The name refers to Gothic architecture of the European Middle Ages, which was characteristic of the settings of early Gothic novels.
High fantasy, or epic fantasy, is a subgenre of fantasy defined by the epic nature of its setting or by the epic stature of its characters, themes, or plot. High fantasy is usually set in an alternative, fictional ("secondary") world, rather than the "real" or "primary" world. This secondary world is usually internally consistent, but its rules differ from those of the primary world. By contrast, low fantasy is characterized by being set on Earth, the primary or real world, or a rational and familiar fictional world with the inclusion of magical elements.
A fairy tale is a short story that belongs to the folklore genre. Such stories typically feature magic, enchantments, and mythical or fanciful beings. In most cultures, there is no clear line separating myth from folk or fairy tale; all these together form the literature of preliterate societies. Fairy tales may be distinguished from other folk narratives such as legends and explicit moral tales, including beast fables. Prevalent elements include dragons, dwarfs, elves, fairies, giants, gnomes, goblins, griffins, merfolk, monsters, monarchy, pixies, talking animals, trolls, unicorns, witches, wizards, magic, and enchantments.
Sword and sorcery (S&S), or heroic fantasy, is a subgenre of fantasy characterized by sword-wielding heroes engaged in exciting and violent adventures. Elements of romance, magic, and the supernatural are also often present. Unlike works of high fantasy, the tales, though dramatic, focus on personal battles rather than world-endangering matters. The genre originated from the early-1930s works of Robert E. Howard. The term "sword and sorcery" was coined by Fritz Leiber in the 6 April 1961 issue of the fantasy fanzine Ancalagon, to describe Howard and the stories that were influenced by his works. In parallel with "sword and sorcery", the term "heroic fantasy" is used, although it is a more loosely defined genre.
Speculative fiction is an umbrella genre of fiction that encompasses all the subgenres that depart from realism, or strictly imitating everyday reality, instead presenting fantastical, supernatural, futuristic, or other imaginative realms. This catch-all genre includes, but is not limited to, science fiction, fantasy, horror, slipstream, magical realism, superhero fiction, alternate history, utopia and dystopia, fairy tales, steampunk, cyberpunk, weird fiction, and some apocalyptic and post-apocalyptic fiction. The term has been used for works of literature, film, television, drama, video games, radio, and their hybrids.
Historical fantasy is a category of fantasy and genre of historical fiction that incorporates fantastic elements into a more "realistic" narrative. There is much crossover with other subgenres of fantasy; those classed as Arthurian, Celtic, or Dark Ages could just as easily be placed in historical fantasy. Stories fitting this classification generally take place prior to the 20th century.
Fantasy literature is literature set in an imaginary universe, often but not always without any locations, events, or people from the real world. Magic, the supernatural and magical creatures are common in many of these imaginary worlds. Fantasy literature may be directed at both children and adults.
Low fantasy, or intrusion fantasy, is a subgenre of fantasy fiction in which magical events intrude on an otherwise-normal world. The term thus contrasts with high fantasy stories, which take place in fictional worlds that have their own sets of rules and physical laws.
As a literary genre, the chivalric romance is a type of prose and verse narrative that was popular in the noble courts of high medieval and early modern Europe. They were fantastic stories about marvel-filled adventures, often of a chivalric knight-errant portrayed as having heroic qualities, who goes on a quest. It developed further from the epics as time went on; in particular, "the emphasis on love and courtly manners distinguishes it from the chanson de geste and other kinds of epic, in which masculine military heroism predominates."
Terri Windling is an American editor, artist, essayist, and the author of books for both children and adults. She has won nine World Fantasy Awards, the Mythopoeic Fantasy Award, and the Bram Stoker Award, and her collection The Armless Maiden appeared on the short-list for the James Tiptree, Jr. Award.
Elements of the supernatural and the fantastic were an element of literature from its beginning. The modern fantasy genre is distinguished from tales and folklore which contain fantastic elements, first by the acknowledged fictitious nature of the work, and second by the naming of an author. Authors like George MacDonald (1824–1905) created the first explicitly fantastic works.
Adventure fiction is a type of fiction that usually presents danger, or gives the reader a sense of excitement. Some adventure fiction also satisfies the literary definition of romance fiction.
Mythic fiction is literature that draws from the tropes, themes, and symbolism of myth, legend, folklore, and fairy tales. It is usually set in the real world and deals with realistic issues, but a mythic atmosphere prevails; however, not all mythic fiction is fantasy, and the fantastic component is not always blatant. Mythic fiction ranges from retellings of fairy tales to stories based on myths to those loosely inspired by myth and legend, using their motifs to create new stories.
Kate Forsyth is an Australian author. She is best known for her historical novel Bitter Greens, which interweaves a retelling of the Rapunzel fairy tale with the true life story of the woman who first told the tale, the 17th century French writer Charlotte-Rose de Caumont de La Force.
Elements of the supernatural and the fantastic were an element of literature from its beginning, though the idea of a distinct genre, in the modern sense, is less than two centuries old.
The following outline is provided as an overview of and topical guide to fiction:
Fantasy is a genre of speculative fiction which involves themes of the supernatural, magic, and imaginary worlds and creatures.
The following outline is provided as an overview of and topical guide to fantasy:
