spectacularism

But there's a whole host of writers and readers for whom the term fantasy has sod all to do with heritage, noble blood, the pre-industrial pastoral and military spectacularism, for whom Fantasy is a much broader field basically equivalent to Clute's fantastika, and for whom that preconception of Fantasy as Heroic is a stereotype to be taken apart.

Archive 2008-01-01 Hal Duncan 2008

Regardless of the fact that his model is grounded in narrative grammars rather than tropes, Clute describes Fantasy entirely in terms of a particular aesthetic form characterised by all those tired cliches of heritage ( "the old ways"), noble blood ( "the hero ... the king"), the pre-industrial pastoral ( "the harvest ... the Land"), and military spectacularism ( "battle after battle").

Archive 2008-01-01 Hal Duncan 2008

Regardless of the fact that his model is grounded in narrative grammars rather than tropes, Clute describes Fantasy entirely in terms of a particular aesthetic form characterised by all those tired cliches of heritage ( "the old ways"), noble blood ( "the hero ... the king"), the pre-industrial pastoral ( "the harvest ... the Land"), and military spectacularism ( "battle after battle").

Narrative Grammars Hal Duncan 2008

But there's a whole host of writers and readers for whom the term fantasy has sod all to do with heritage, noble blood, the pre-industrial pastoral and military spectacularism, for whom Fantasy is a much broader field basically equivalent to Clute's fantastika, and for whom that preconception of Fantasy as Heroic is a stereotype to be taken apart.

Narrative Grammars Hal Duncan 2008

All of the features by which we're identifying this type of fantasy and by which many examples of this fiction are judged (by writers like Moorcock in his WIZARDRY AND WILD ROMANCE, for example) to be infantilist and reactionary -- heritage, noble blood, the pre-industrial pastoral, and heroic spectacularism -- fit neatly, I think, with an idea that the strange is used initially to construct a sense of the idyllic, a sense of "rightness" rather than "wrongness".

Archive 2008-01-01 Hal Duncan 2008

All of the features by which we're identifying this type of fantasy and by which many examples of this fiction are judged (by writers like Moorcock in his WIZARDRY AND WILD ROMANCE, for example) to be infantilist and reactionary -- heritage, noble blood, the pre-industrial pastoral, and heroic spectacularism -- fit neatly, I think, with an idea that the strange is used initially to construct a sense of the idyllic, a sense of "rightness" rather than "wrongness".

Narrative Grammars Hal Duncan 2008