How is science fiction different from fantasy, according to Le Guin?

How is science fiction different from fantasy, according to Le Guin?

Normally, we know that science fiction and fantasy are not actually happened in real life which could be defined as fiction. According to Le Guin, “fantasy is far more direct in its fictionality than either realism or science fiction. Its contract with the reader is a different one.”

Fantasy has no restriction that the story may have more broad imagination or represent. It creates unpredictable things. They can make a fantasy story fake and unbelievable as much as they want, and people would still enjoy it because it is a fantasy

Science fiction is more likely to describe or imagine the future based on the real world and there has to be explanations why all the incidents take place and how, explained in a science related way to make it seems real even though it is not. “Most science fiction pretends that the future is the present or the past, and then tells us what happened in it.” Le Guin said. Making unknown future connects with the characteristics of current people or society. In science fiction, making unknown future, mostly it has relationship between present and future which makes a condition of explanation why the future has been created. However, fantasy does not necessitate explaining the reason of creating new world because fantasy itself has to be unrealistic, unexplainable and unbelievable stories that is Fantasy.

Reference

Le Guinn, U. (2005). Plausibility revisited what happened and what didn't. Retrieved from http://www.ursulakleguin.com/PlausibilityRevisited.html

Do you think comics are a children’s or adult genre/media?

Do you think comics are a children’s or adult genre/media?

I think comics are medias/genres for both children and adult. I was thinking comics are designed for only children, because if children read other texts like novel or poem, they may have some problems to understand the meaning. However when children read comics, they could understand the contents easily, because in the comics there are helpable pictures, many visual features, and short sentence as well. Those reasons were why I thought comics are childish and it is for only children. But Harvey (n.d., as cited in Varnum & Gibbons, 2001) discusses that both words and images are necessary for the completion of meaning, which shows that both children and adult cannot get the exact meaning of comics without images. Namely, pictures and images are the features of comics that it only has compare the other medias/genres. As most of poem use short sentences, comics have its own elements. Even to me, comics are much enjoyable because it is much easier to understand or guess the meaning with images even if there are any difficult words or expressions that I haven’t learnt. The comic ‘the adventures of Tintin’ also has own genre of age group. In the Michael Farr’s writing, Herge (n.d., as cited in Farr, 1991) who is the author of “the adventures of Tintin” explains that “Tintin” was aimed at all young people aged from seven to seventy-seven. Therefore, I can say “comics” are for both children’s and adult’s media.

Reference

Farr, Michael. (1991). Introduction in Tintin: the complete companion (pp.8-9). London: John Murray.

Varnum, R. & Gibbons, C. (Eds.). (2001). Introduction. In The Language of Comics: word and image (pp.ix-xix). Jackson: University Press of Mississippi.

How does Attebery (1980) define Fantasy? Find at least five definitions.

How does Attebery (1980) define Fantasy? Find at least five definitions.

As we know the fantasy genres in story telling commonly defines reality by making use of magic, mythical creatures and supernatural phenomenon that acts as the primary plot element, theme, and setting. According to Attebery, he interprets this concept from various angles and envisage for future “subclassification and evaluation” (Attebery, 1980). So what is Fantasy? The definition of fantasy is described as simply one’s own definition of what fantasy is. Using his bookshelf collection, he cites examples such listings like C.S Lewis and J.R.R Tolkien. This especially true as fantasy is such a broad term, that the same word may carry on different meaning towards an individual. Attebery also suggests that “any narrative which includes as a significant part of its make-up some violation of what the author clearly believes to be natural law-that is fantasy” (Attebery, 1980). In a way, fantasy greatly differs from science fiction, the fantasy genre which works to persuade the reader that things which seem impossible are actually scientifically possible. The stories created through fantasy have their own internal laws which cannot be destroyed. Furthermore, Attebery also mention that “fantasy, then, presuppose a view of exterior reality which it goes on to contradict.” This suggests that readers unconsciously immerse themselves in the world of fantasy which contradicts reality. While Attebery understood that it is imperative to insist towards consistency of the construct in fantasy, he points out that the consistency of the illusion should be maintained by the author and reader. He describe this engagement as “a game of sorts”. This implies that if the readers were to immerse enthusiastically while engaging in this game according to the terms of it, they would get the unforeseen pleasure from the scene of “wonder” (Attebery, 1980). Overall, although Attebery did not provide an exact definition of fantasy, he presented at least five aspects and it’s important features so that we may gain insight to this notion. For example, Harry Potter is great fantasy, the Harry Potter is based on the mystery novel and it m.akes readers unconsciously immerse themselves in the world of fantasy (Urban archives, n.d.). Furthermore,  there is a hero in Harry potter. Nowadays, fantasy can be defined in many different ways. We may assume that fantasy and science fiction share a correlation. However, I choose to believe that fantasy enables us to tap into our creative imagination and to the possibility of ‘what if” moments. It is also possible that for some, fantasy is a way to escape the harsh reality we face every day, and the thought of fantasy would bring us closure, just like Alice when she followed the rabbit into the hole.

References:

Attebery, B (1980). The Fantasy Tradition in American Literature: From Irving to Le Guin. In
Urban archives. (n.d.). Genre in Harry Potter. Retrieved August 25, 2014, from 
   http://cityfantasy.wordpress.com/category/authors/rowling-j-k/genre-in-harry-potter/

According to the second Farr extract (p.50-59), how did Hergé research China for The Blue Lotus?

According to the second Farr extract (p.50-59), how did Hergé research China for The Blue Lotus? 

According to the second Farr extract (p.50-59), Herge started his research for The Blue Lotus after an encounter that he had with a Chinese student in Brussels.  Father Gosset, a chaplain to Chinese students at the University in Brussels wrote to Herge urging him to avoid resorting to the cliche views of Chinese people and to do his research properly.
This was followed by an introduction in 1934 by Father Gosset between a Chinese student, Chang Ching-chen and Herge.

Through his friendship with Chang, Herge learnt about Chinese culture, history, philosophy, art and thus shaped Herge's perception of Chinese and China. No longer did Herge perceive the Chinese to be 'slit-eyed people who were very cruel, who would eat swallows nests, wear pig-tails and throw children into rivers...'(Farr, p51.)
Chang opened Herge's eyes to the distant politics of Asia and Japan's Imperialistic ambitions. Herge used actual political events during the Japanese invasion of China, such as the Moukden Railway.(Farr, p52).


References

Farr, Michael.(1991). In the Blue Lotus. In Tintin: the complete companion (pp50-59). London: John Murray.

According to the second Farr extract (p.50-59), how did Hergé research China for The Blue Lotus?

According to the second Farr extract (p.50-59), how did Hergé research China for The Blue Lotus?

Herge had realized that for his next TinTin adventure (The Blue Lotus) he needed to take a different approach to what he had previously done in his earlier comics. Instead of creating exciting voyages in exotic lands with stereotypical characters like the greedy American gangsters or ‘superstitious Africans’ Herge felt the need to execute accurate portrayals of characters and the culture of China. Through the introduction of Chinese student Chang Chong-Chen who Herge became very close with, he discovered a fondness for Chinese art, poetry, language and philosophy. Due to this, Herge was able to gain the knowledge he needed to create an astounding and authentic adventure.

He did this through many different ways, for example Herge created depth in his authenticity by inserting Chinese symbolism, Chinese text and events that were significant to China during that time, specifically political affairs and the danger of war between the Chinese and Japanese. Herge showcased this in The Blue Lotus by portraying Japans arrival into Chinese territory, as well as the strip where TinTin is being marched around with a block collar that was commonly worn by prisoners. Throughout the comic, all scenes were perfected to look like China, we see TinTin being driven around in a rickshaw with even road signs and street names being accurate.

With the help from Chang Chong-Chen, and Newspaper clippings that advertised current events, Herge was able to create images that appeared realistic. For example, Herge imitated in drawing an armored tank that he found in a newspaper clipping, which he used in his comic. Because of this, Herge succeeded in creating an adventure that was real, captivating and detailed. Through the encounter of his Chinese friend, Herge continued to create real and authentic characters and settings for exciting adventures.

References

Farr, Michael. (1991). Introduction. In Tintin: the complete companion (pp.8-9). London: John Murray.

Herge. (2005; 1935). The Adventures of Tintin: The Blue Lotus. London: Methuen.

Do you think comics are a children’s or adult genre/media?

 

Question- Do you think comics are a children’s or adult genre/media?

It is subjective, as both age groups do enjoy reading graphic novels. There is no age limit as to whether a person can enjoy reading from comic. As comic book have vast genre like drama, crime, science fiction, historical, adventure, and etc. Comics are also divided into short stories, newsprint or album such as graphic novel. They reflect the culture of the producer and some cases their past experience. Comics do not necessarily fall into children’s media/genre. For example, Tintin Adventure would normally fall under the category as a comic genre. However, it has various types of adaptation such as books, screen medium and newsprint. In Tintin first adventure, Tintin in the Land of the Soviets instantly became a hit sensation amongst children and adults alike. As the journey of Tintin Adventure progresses, the author, Herge soon added various kinds of secondary character into the mix – some of those characters which he had based on were a reflection of well-known people in his days. Furthermore, his drawings were based on a specific historical and political timeline in which he was dedicated towards bringing his readers around the world as he sees it (The Adventures of Tintin, n.d) Most genres reflect several meanings such as political, historical, critical or creative imagination in the content. Comics may also reflect various meanings. Graphic novels are “a fusion of text an art that builds on the impact of visuals to offer value, variety, and a new medium for literacy” (Bucher & Hinton, 2009, p.337). Therefore, reading a comic is not limited by a person age, but the freedom of creative imagination of an individual. An adult would read it as a favorite past time from their childhood, hobby, or merely just interest. Younger readers such as children read because of the color, content, easy storyline, and it also sometimes serves as a moral guideline for children.

   References

 
Bucher, K. T., & Hinton, K. M. (2009). Young adult literature: Exploration, evaluation and appreciation. Prentice Hall,    2009.

    The Adventures of Tintin (n.d.) History of Tintin. Retrieved from http://us.tintin.com/about/origins/

How Does Farr (1991) justify Tintin's appeal to adults?

Blog 1- Tintin and the Blue Lotus

Question – How does Farr (1991) justify Tintin’s appeal to adults?

Herge’s graphic novels of Tintin is aimed at creating to protagonist which can appeal to both adults and children through various characteristics and plots. Herge mentioned, “Tintin was aimed at all young people aged from seven to seventy-seven” (Farr, 1991. Pp 8).

Herge caught the attention of the adult audiences by incorporating adult social and political themes into the Tintin adventures. Herge has captivated and international audience by using themes from various corners of the globe, for example; Herge has written about a character who is a journalist which travels around the world solving mysteries (Herge, 2005; 1935). For example, ‘The Blue Lotus’ is focused in China where Tintin is attempting to solve the mystery revolving around the Opium trade which further delves into topics revolving around the Opium war and further political issues surrounding China during the 1935 for example where Japan begins plans of invading China, “His use of Chinese in The Blue Lotus, thanks to Chang, has much greater depth and can be very subtle… when the appalling Gibbons beats the unfortunate rickshaw driver, the poster behind proclaims, ‘down with imperialism!’ in Chinese (Farr, 1991. Pp 52).

Herge has also used comedy which all various ages will find humorous for different reasons. For example, in the blue lotus Herge has incorporated the two British police officer twins Thompson and Thompson, which are depicted as idiotic and incompetent with their investigative skills which gives Tintin an opportunity to escape for their arresting captivity (Herge. 2005;1935). Thompson and Thompson the clumsy police officers are the longest running characters in the Tintin series who have appeared in twenty of the twenty-four book series of Tintin (Studios Herge. 2014).  My views of the use of using Thompson and Thompson as clumsy police detectives is Herge’s way of taking the micky out of the authorities in odd means in solving crimes, yet also gives the character Tintin a greater meaning to the stories.  

References

Farr, M. (1991). Introduction, Tintin: an imaginary hero in the real world. In M. Farr, Tintin: the complete companion (pp.8-9). London: John Murray.

Herge. (2005; 1935). The Adventures of Tintin: The Blue Lotus. London: Methuen.

Farr, M. (1991). The Blue Lotus. In Tintin: the complete companion. (pp. 50-59). London: John Murray.

Studios Herge. (2014). The adventures of Tintin. http://us.tintin.com/meet-the-characters/thomson-thompson/ .

By Alex Day

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