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Kristina Lareau

on 25 April 2011

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Transcript of Scifi/Fantasy

ENG 313/513 Bestsellers Lists and awards Neil Gaiman Langton's Categorizations of Fantasy 1. Tall Tales 2. Crossing a Threshold 3. Parallel Universe 4. Fairy Tale, Folk tales, mythology 5. Talking Animals 6. Time Slip 7. Ghost Stories Science Fiction Rebecca Stead What is fantasy without realism? What if? Then What? So High Fantasy Consider "The Graveyard Book": Into which "What if?" categories do you think this title fits? Why? Nodelman and Reimer believe that "Reading for character, readers conventionally use their knowledge of the way people in the world around them usually behave to assign traits to charactersm ti guess about their motivations, to reconstruct their past, or even predict whar they might do after the end of the story" (50). What are some of the assumptions you had about characters and the world? How ere they broken? How did you fill in the gaps about characters? , The History of 1800s: Mary Shelley's Frankenstein Jules Verne and H.G. Wells Penny Dreadfuls
and Marvel 1918-1945:
"Golden Age" of (Adult)
Science Fiction
Amazing and Astounding Stories Sci-fi for Children 1963: Robert Heinlein's "Podkayne of Mars" Classifications of Science Fiction 1. Hard Science
2. Soft Science
3. Space Opera
4. Science Fantasy
5. Social Science Fiction/Dystopian
6. Cyperpunk
7. Steampunk Film Adaptions and Screen Writing If you treat these two clips as texts, what similarities do they have? Do they reflect a specific authorial style? Anything else? Would you classify both within the same genre? Do you find them both uncanny? Horrific? Scary? Consider the marketing strategies of each text. What assumptions do the adults who produce, market etc. make about children as consumers? What assumptions are they making about childhood? What about the children in these texts? Small Group #1:
Is "When You Reach Me" science fiction? Or fantasy? Why? Which Elements of fantasy/sci-fi does this novel possess? How does the relationship to reality help support your decision? Big Group:
Langton argues that good fantasy has meaning. Are either of these books obviously didactic (in the vain of the earliest fantasy novels)? Do they offer subtler themes, meanings or allegory? Is the author's hand felt in the conveyence of these, or do the messages and ideologies grow organically from the plot and characters? What narrative devices do the two novels for today use? Do you hear the author's voice? Do the characters have a distinct voice? How close or far do you feel from the characters? The narrator? Is there a difference? The History of Fantasy Consider what Nodelman and Reimer discuss about the changes in publishing. How do these books fit into their assertions? How do these books fit into the category of award winners? Do these titles seem to fit into bestselling trends? Why? Do you think they are "quirky" and "unusual"? How? Goodnight!
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