В свое писмо Калин wrote:За мен лично стойността на _качественото_ фентъзи е в способността му
да разтваря сетивата ни - точно както качествената НФ разтваря ума ни.
Качественото фентъзи ни подготвя за качествено възприемане на околния
свят - а без качествено възприемане няма как да стигнем до качествени
изводи. То ни припомня, че колкото и опит да сме натрупали, ние НЕ
ЗНАЕМ какво ни чака зад следващия завой (спомни си вечно разширяващия
се свят на "Хрониките" или неизчерпаемата - буквално и преносно -
Фантазия в "Приказка без край"). И че точно затова е важно очите и
ушите ни да са отворени на четиринайсет във всеки един момент. Да сме
максимално близко до онова състояние на концентрация, наричано
"заншин" на Изток.
Повече по този въпрос съм казал в едно мое изказване пред клуб
"Ефремов" - звукозаписът е тук:
http://www.mediafire.com/?9rjnz5eji2n
Разбира се, качественото фентъзи има и други функции, една от които е
уловена в изказване на Ле Гуин по повод на Питър Бийгъл и творчеството
му:
"Години наред любящи читатели се допитват до него за онези доводи на
сърцето, при които разумът немее."
Кал wrote:П.П. Това 'ич да не ви спира да разсъждавате по ваши си тангенти, офф-ове и к'вото още ви се (дис-)асоциира. Взимайте пример от Зори – тя темите на темите за пет пари ги няма. Че и се жалва после от злите модератори...
(Хохохо... ма съм садист тая вечер.)
kalein wrote:За теб логиката на света е важна. За мен - ама хич никак. Аз не си търся подредени, консистентни светове, понеже такива светове само утъпкват вече готовите пътеки в мозъка ми. А това не е фантазно. Съвсем друго си е да те провесят през ръба на света и ветровете да продухат всичкото от главата ти... и после да видиш какво ще запълни празнотата. Уви, повечето автори, на които съм попадал, се боят от високото. Подозирам, че заслуга имаме и ние като читатели.
In Goodreads, Kal wrote:Corey wrote: "The list is just a function of who interacts with the website most. Kids, in general, love fantasy because it is exciting and escapist."
... and because they're looking for role models--for actual heroes, characters you want to root for, or even emulate. Curiously, 'grown-up' literature offers very few of those.
Thank you for your refreshing comment, Corey. :)
Кал wrote:Мимоходом ще правя на пух и прах твърдения като „фентъзито е бягство от действителността (a.k.a. ескейпизъм)“ и други.
John Clute wrote:Escapism
A derogatory term much used in descriptions of genre literatures in general and fantasy in particular. It is a term, however, which more accurately describes the motives of the reader than the nature of what is read. The works of Jane Austen (1775-1817) are notoriously read for escapist motives. Within the structure of fantasy, the term Escape has a more particular meaning – not "the flight of the deserter, but the escape of the prisoner", as J R R Tolkien puts it.
In The Encyclopedia of Fantasy, Roz Kaveney wrote:J R R Tolkien, in The Hobbit (1937) and The Lord of the Rings (1954-1955), provided a map in much the same spirit that he provided endless glossaries and appendices. In imitation, almost all modern Genre Fantasies come equipped with a map, to the extent that maps are only much noticed when absent.
It has been remarked by Diana Wynne Jones in her The Tough Guide to Fantasyland (1996) that to see an extensive map at the front of a trilogy is to know that "you must not expect to be let off from visiting every damn place shown on it".
In The Encyclopedia of Fantasy, John Grant and David Langford wrote:More interestingly, it could be argued that, if fantasy (and debatably the literature of the fantastic as a whole) has a purpose other than to entertain, it is to show readers how to perceive; an extension of the argument is that fantasy may try to alter readers' perception of reality. Of course, quack religions (etc.) make similar attempts, but a major difference is that, while the latter attempt to convert people to their codified way of thinking, the best fantasy introduces its readers into a playground of rethought perception, where there are no restrictions other than those of the human imagination. In some modes of the fantastic – e.g., magic realism and surrealism – the attempt to alter the reader's perception is overt, but most full-fantasy texts have at their core the urge to change the reader; that is, full fantasy is by definition a subversive literary form.
In The Encyclopedia of Fantasy, John Clute wrote:Sense of Wonder (...) may be defined as a shift in perspective so that the reader, having been made suddenly aware of the true scale of an event or venue, responds to the revelation with awe.
In So You Want To Write Your First Fantasy Novel? (Then Stop Thinking the Way You Do), Erikson wrote:Fantasy novels tend to homogenize their resident fantasy cultures. This one rides horses on the steppes; that one builds dragon-prowed ships and raids coastlines. This one has knights and maidens; that one lives across the river from Elves. Cultures aren’t props. They can’t be explained in describing one characteristic behaviour or belief system. They are never, ever static, unchanging.
The best way to imagine a fantasy culture is to begin with the recognition that your own culture isn’t even what you think it is; that your belief systems and worldview are not universally shared within your culture: not within your native nation; not within your state; not within your city or town; and indeed, not within your own family.
The second path to approach the creation of a fantasy world and its cultures, is to strip away that sense of superiority, of rationality and its ferocious need to categorize, arrange, explain and/or explain away things. To surrender to the notion of mystery and wonder, to the spiritual that exists inside, likely buried somewhere deep and out of sight.
That empirical mind has sent us to the moon. Your average, genuine shaman, living in some forest or jungle or steppe, might well shrug at that news, unimpressed, and then tell you that he or she travels among foreign stars and worlds without ever leaving this here hut. The empirical mind might then scoff and say, ‘Hallucinogenic drugs. A brain trip doesn’t leave boot-prints on lunar soil, does it?’ To which the shaman might frown and say, ‘Why leave footprints at all?’
There are different paths. Remove the value judgement from that statement. The longest-lived and therefore the most successful means of living belong to that shaman, not us.
As for brain trips, well. Consciousness is the most mysterious magic of all. If I ever find myself sitting across from a shaman who tells me she’s visited other worlds, I’ll believe her.
As an author of Fantasy fiction, I’d be a fool to do otherwise.
In The Simoqin Prophecies, Samit Basu wrote:‘A world of magic,’ said the Civilian, ‘is not a world governed by rules. Of course, there are always rules, but where magic exists, these rules create themselves and change often. (...)’
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