1) How is science fiction different from fantasy, according to Le Guinn?
2) How does Attebery (1980) define Fantasy? Find at least five definitions?
3) In what ways does Tax (2002) suggest Earthsea may still be relevant today?
4) What are some archetypes that often recur in fantasy fiction? Give examples from Earthsea and other fantasy works you might know.
5) In what way is The Wizard of Earthsea a ‘coming of age’ novel? Does it escape from the ‘boy’s own adventure’ story? How are Ged’s adventures different from Tintin’s?
Question 4: What are some archetypes that often recur in fantasy fiction? Give examples from Earthsea and other fantasy works you might know.
ReplyDeleteEvery fantasy story is a magic mirror reflecting some aspects of our inner world and the steps taken to evolve from immaturity to maturity (Attebery, 1980). This is the basis of many fantasy stories and some find the original ideas from great story tellers to be copied, advertised, sold, junked, replaceable and ultimately interchangeable (Tax, 2002). Vogler explains these interchangeable or “formulaic” stories to be the art form of storytelling. He calls this the “Hero’s Journey”, which is a set of principles that govern the world of story telling the way physics and chemistry govern the physical world (2007). Vogler explains that within every story there are recurring archetypes that are often embodied by characters or formulated beings, each designed to create the intended story (Voytilla, 2003).
There are certain archetypes that are imperative to a story such as the Hero. The hero is the main character and what every conventional story is based around. Attebery stated that traditional tales helped lead peasant children into adult society (1980), and this is the starting point to many stories such as Wizard of Earthsea. The author, Le Guin, created her hero, Duny [Ged] as a poor “wild boy” (pg.2) on the island Gont. Many other stories start on the same vantage point such as Eragon, a humble farm boy, to Harry Potter, an orphan and burden to his caregivers. Another character will mostly likely enter the story to challenge the hero or bring about change to the heroes life - this archetype being another imperative inclusion in stories – known as the Herald. In Harry Potter the character known to enter Harry’s life invoking change is Hagrid. In Eragon and Earthsea the characters embodying the Herald archetype would be Brom [Eragon] and Ogion [Earthsea]. Going back to Vogler, he explains that archetypes can be thought of as masks, worn by the characters temporarily as they are needed to advance the story (2007). Though Brom and Ogion embody the Herald archetype they also take on the “mask” of the Mentor within their stories. The Mentor archetype is a character or formulated being that has often travelled the road before and can provide guidance and training to the hero who starts off reluctant or fearful of the unknown (Vogler, 2007). The Mentor is the initiator of the hero’s adventure and road to self-discovery. In fantasy fiction, the mentor is commonly displayed as an old man with a long beard who often carries a staff, such as Gandalf in Lord of Rings, Dumbledore in Harry Potter or Ogion in Earthsea.
According to Jung (1969), archetypes reflect different aspects of the human mind, making the list of recurring archetypes within fantasy fiction almost unending. The archetypes within Earthsea are common in many other literatures and this recurs throughout every story. All stories consist of a few common archetypal elements found universally in myths, fairy tales, movies and books.
References:
Attebery, B. (1980). The Fantasy Tradition in American Literature (pp. 1-10). Bloomington: Indiana University Press.
Jung, C. (1969). The Archetypes and the Collective Unconscious. New Jersey: Princeton University Press.
Le Guin, U. (2012). A Wizard of Earthsea (#1). New York: Graphia.
Tax, M. (2002). Year of Harry Potter, Enter the Dragon. The Nation.
Vogler, C. (2007). The writer's journey (3rd ed.). Studio City, Ca: Michael Wiese.
Voytilla, S. (2003). Hero's Journey Arch. Retrieved on 12 August 2017 from http://www.tlu.ee/~rajaleid/montaazh/Hero%27s%20Journey%20Arch.pdf
Well done for answering this question. I think it is the most interesting. you use lots of examples from other books which is great but appear use this to compensate for an in depth discussion of the primary text. You say that Ogion embodies the herald archetype but you don't demonstrate it. Who is Ogion? How does he fit into the story?
Deletekeep up the good work
Hi Mike,
DeleteI think because I was trying to be as concise as possible with each archetype I may have rushed over the Herald. I will go back and go into a bit more detail in each one to make it more clear when referring to Earthsea archetypes.
Thank you for your feedback.
*OFFICIAL POST*
DeleteQuestion 4: What are some archetypes that often recur in fantasy fiction? Give examples from Earthsea and other fantasy works you might know.
Every fantasy story is a magic mirror reflecting some aspects of our inner world and the steps taken to evolve from immaturity to maturity (Attebery, 1980). This is the basis of many fantasy stories and some find the original ideas from great story tellers to be copied, advertised, sold, junked, replaceable and ultimately interchangeable (Tax, 2002). Vogler explains these interchangeable or “formulaic” stories to be the art form of storytelling. He calls this the “Hero’s Journey”, which is a set of principles that govern the world of story telling the way physics and chemistry govern the physical world (2007). Vogler explains that within every story there are recurring archetypes that are often embodied by characters or formulated beings, each designed to create the intended story (Voytilla, 2003).
There are certain archetypes that are imperative to a story such as the Hero. The hero is the main character and what every conventional story is based around. Attebery stated that traditional tales helped lead peasant children into adult society (1980), and this is the starting point to many stories such as Wizard of Earthsea. The author, Le Guin, created her hero, Duny [Ged] as a poor “wild boy” (pg.2) on the island Gont. Along with Duny starting out life within humble means, he is also very naïve and young in regards to his discovered powers and magic itself. Many other stories start on the same vantage point such as Eragon, a humble farm boy, to Harry Potter, an orphan and burden to his caregivers.
Another character will mostly likely enter the story to challenge the hero or bring about change to the heroes life - this archetype being another imperative inclusion in stories – known as the Herald. In Harry Potter the character known to enter Harry’s life invoking change is Hagrid. In Eragon and Earthsea the characters embodying the Herald archetype would be Brom [Eragon] and Ogion [Earthsea]. In Earthsea, the wizard Ogion enters both the story and Duny’s life when he hears of this “wild boy’s” power. Ogion’s introduction can be seen as the turning point or beginning of Duny’s adventure.
Going back to Vogler, he explains that archetypes can be thought of as masks, worn by the characters temporarily as they are needed to advance the story (2007). Though Brom and Ogion embody the Herald archetype they also take on the “mask” of the Mentor within their stories. The Mentor archetype is a character or formulated being that has often travelled the road before and can provide guidance and training to the hero who starts off reluctant or fearful of the unknown (Vogler, 2007). The Mentor is the initiator of the hero’s adventure and road to self-discovery. Though Ogion wasn’t the first or last to mentor Duny [Ged], he embodies the mentor archetype in Earthsea. This is also proven when Ged says “I have walked with great wizards and have lived on the Isle of the Wise, but you are my true master, Ogion” (pg.124). In fantasy fiction, the mentor is commonly displayed as an old man with a long beard who often carries a staff, such as Gandalf in Lord of Rings, Dumbledore in Harry Potter or Ogion in Earthsea.
According to Jung (1969), archetypes reflect different aspects of the human mind, making the list of recurring archetypes within fantasy fiction almost unending. The archetypes within Earthsea are common in many other literatures and this recurs throughout every story. All stories consist of a few common archetypal elements found universally in myths, fairy tales, movies and books.
References:
DeleteAttebery, B. (1980). The Fantasy Tradition in American Literature (pp. 1-10). Bloomington: Indiana University Press.
Jung, C. (1969). The Archetypes and the Collective Unconscious. New Jersey: Princeton University Press.
Le Guin, U. (2012). A Wizard of Earthsea (#1). New York: Graphia.
Tax, M. (2002). Year of Harry Potter, Enter the Dragon. The Nation.
Vogler, C. (2007). The writer's journey (3rd ed.). Studio City, Ca: Michael Wiese.
Voytilla, S. (2003). Hero's Journey Arch. Retrieved on 12 August 2017 from http://www.tlu.ee/~rajaleid/montaazh/Hero%27s%20Journey%20Arch.pdf
great work
Delete3) In what ways does Tax (2002) suggest Earthsea may still be relevant today?
ReplyDeleteTax (2002) underlines many fundamental themes that are present in Ursula K. Le Guin’s book Earthsea, such as gender equality, transition from old to new, and the dry lands which are still relevant and reflected in today’s society.
Tax suggests that gender inequality is a theme that is present throughout Earthsea. Le Guin being a feminist revolutionary highlights gender inequality in her novel, demonstrating this through a male dominated society and their negative responses to women. Tax notes this is, and continues to be, a prevalent issue in today’s society stating this is a “true symbolic picture of where we are now” (p.14).
Tax expands further on this view of society, like the boy Ged’s transition from pubescents into adulthood, our society is also transitioning through an uncomfortable phase. A phase that is also symbolised by the government in Earthsea, where the old is no longer working and the new hasn’t yet found steady footing. This places us within a society today that has “no untainted source of male power, no mature authoritative leadership of any kind, caught midway in our evolution as social beings” (Tax, 2002, p.14).
Social beings that Tax relates to as being trapped, just like those in the book, in the boundary between life and death, imprisoned within the dry lands which is a “land of death-in-life” (p.16). Instead, our society is trapped within the mundane routine of everyday life, ensnared in the “arid lands of adulthood” (Tax, 2002, p.16).
In essence, Tax proposes that Ursula Le Guin cleverly symbolises a different tier of truth, a truth of society today. A society that is pushing away from the old male dominated environment. However, in the process has become lost and trapped within itself, unsure of the future and of who is best to lead us there.
References:
Tax, M. (Jan 28, 2002). In the year of Harry Potter, Enter the dragon. Nation, 274(3), 11-17.
good answer. I like your paragraphs.
ReplyDeletedon't just refer to Tax. use your own examples from Earthsea. Are there other sections from the novel that support Tax's veiw or not? What's your opinion?
Hi Mike,
DeleteThanks for reading my response.
When reading the question, I was under the impression that this answer was solely from tax’s perspective and opinion, not my own. I will add in my opinion and quotes from the book to back myself.
Thanks for your guidance.
3) In what ways does Tax (2002) suggest Earthsea may still be relevant today?
DeleteTax (2002) underlines many fundamental themes that are present in Ursula K. Le Guin’s book Earthsea, such as gender equality, transition from old to new, and the dry lands which are still relevant and reflected in today’s society.
Tax suggests that gender inequality is a theme that is present throughout Earthsea. Le Guin being a feminist revolutionary highlights gender inequality in her novel, demonstrating this through a male dominated society and their negative responses to women. For example, women are not allowed entrance into the great house and are forbidden from training there. This can be seen when The Lord of O takes “his lady” to the Great house, much to the dismay of the masters who disapprove of women in the Great house (Le Guin, 2012, p.93). Tax (2002) notes that this is, and continues to be, a prevalent issue in today’s society stating this is a “true symbolic picture of where we are now” (p.14).
Tax expands further on this view of society, like the boy Ged’s transition from pubescents into adulthood, our society is also transitioning through an uncomfortable phase. A phase that is also symbolised by the government in Earthsea, where the old is no longer working and the new hasn’t yet found steady footing. This places us within a society today that has “no untainted source of male power, no mature authoritative leadership of any kind, caught midway in our evolution as social beings” (Tax, 2002, p.14).
Social beings that Tax relates to as being trapped, just like those in the book, in the boundary between life and death, imprisoned within the dry lands which is a “land of death-in-life” (p.16). This imprisonment can also be symbolised in Earthsea by sorcerers who get trapped in the embodiment of the beast if they transform too long, such as the wizard Bordger of Way (Le Guin, 2012, p.226). Instead, our society is trapped within the mundane routine of everyday life, ensnared in the “arid lands of adulthood” (Tax, 2002, p.16).
With headlines today reading “‘Unacceptable’: New Zealands Labour leader asked about baby plans seven hours into job” (Roy, 2017) sparking “accusations of sexism” (Roy, 2017) and “Trump asked when the world will start laughing at the US. It already is” (Wolffe, 2017). presents an unstable government, Tax’s reasoning and links to Earthsea are reasonable.
In essence, Tax proposes that Ursula Le Guin cleverly symbolises a different tier of truth, a truth of society today. A society that is pushing away from the old male dominated environment. However, in the process has become lost and trapped within itself, unsure of the future and who is best to lead us there.
References:
Le Guin, U., K. (2012). A wizard of Earthsea. New York, United States: Graphia
Roy, E., A. (2017, August 02). 'Unacceptable': New Zealand's Labour leader asked about baby plans seven hours into job. The guardian. Retrieved September 7, 2017 from https://www.theguardian.com/world/2017/aug/02/unacceptable-new-zealands-labour-leader-asked-about-baby-plans-six-hours-into-job
Tax, M. (2002, January 28). In the year of Harry Potter, Enter the dragon. Nation, 274(3), 11-17.
Wolffe, R. (2017, June 02). Trump asked when the world will start laughing at the US. It already is. The guardian. Retrieved September 7, 2017 from https://www.theguardian.com/commentisfree/2017/jun/02/trump-world-laughing-at-us-paris-climate-deal
How is science fiction different from fantasy, according to Le Guinn?
ReplyDeleteAccording to Le Guinn, Realistic fiction pretends what did happen. It uses invented characters with real people and places based on actuality and history. However, science fiction is one part of realism. Some of them invent the past, for example, some science fiction contradicts history: “in Philip Dick'sMan in the High Castle Germany and Japan won the Second World War”. Most of the science fiction pretend that the future is the present or the past and tells the story. Science fiction is similar to Realism fiction because they both have the plausibility.
However, Fantasy is more different from Science Fiction. It bases on its fictionality, you don’t get to pretend what happen or what will happen in the story. Fantasy is more drastic to against the plausibility in the real world. Fantasy only uses few realistic facts to avoid readers get confused and to avoid the impossible matters. Readers usually will not be surprised that by the behavior of characters in the Fantasy. Sometimes what surprised readers are when the characters are nonhuman or relate to the nonhuman. For example, in the film He’s a dragon, the male character is half dragon and half human. This is different to science-fiction as well. Science fiction does not approve the nonhuman characters as Fantasy does. Fantasy usually appeared as the fake and beautiful stereotype. According to Le Guinn, the plausibility in fantasy “is the coherence of the story, it's consistent self-reference” (Le Guinn, 2005). Fantasy is kind of an exercise of human imagination but with the coherence of story and self-reference.
In conclusion, science fiction takes nowadays knowledge to prevent future or recreate the history. Science fiction has their plausibility with certain proof or historical facts. They base on actuality and history. Fantasy is more like to create a new world and involves with certain impossible facts such as magic or supernatural beings. Fantasy does not prescribe proof of science and actuality or history.
Ursula K,L.(2005) Plausibility Revisited, Wha Hoppen and What Didn't. Retrieved from http://www.ursulakleguin.com/PlausibilityRevisited.html
good answer.
ReplyDeletereference Earthsea to strengthen your answer.
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ReplyDeleteQ1+2:
ReplyDeleteAccording to Le Guinn (2005), science fiction is regarded as a branch of realism and the modern mythology. Science fiction spends much time convincing readers the plausibility and extrapolation from the world and the science that they know (Attebery, 1980). In other words, science fiction writers can contradict what happened in the past and pretend the future is the present or the past then imagine what happened, happens or will happen, which makes readers consent to and trust the story (Le Guinn, 2005). In addition, the myths and legend are not deliberately written by fiction writers, they might be used consciously or unconsciously in science fiction though (Le Guinn, 2005). Take a film Blade Runner (1982) as an example, there are numbers of replicants that have not created in reality so far, which means the storyline was imagined and created by the fiction writer. However, it still can make audiences trust and accept the story because the setting of this film was given in a modern city Los Angeles with full of high technology and in the future year 2019 which is quite further than the year that the story was written and the film was screened. Similarly, readers are also convinced by Mary Shelley's Frankenstein (1818) because the storylines and the settings are associated with science.
Compared to science fiction, "fantasy is far more direct in its functionality than either realism or science fiction" (Le Guinn, 2005, para.7) because the plausibility of fantasy is violated consciously and intentionally and its invention violates "fundamental assumptions about matter and life" but there is no contract with readers how its story happened, might have happened or might ever happen (Le Guinn, 2005; Attebery, 1980, p.1). Le Guinn (2005) & Attebery (1980, p.1) also note that the characters in fantasy may not generally meet the conventional expectation that refers to human beings but the main characters might become non-human beings "like dragons, flying horses or shape-shifting men". However, nowadays readers are being asked to accept not only the conventions of fiction but also its implausibility within those conventions, which refers to commitment called by Tolkien as the "second creation" or "secondary belief" (Attebery, 1980). Moreover, Attebery (1980, p.2) points out that "fantasy is a game of sorts", it needs readers who can wholeheartedly accept "for the moment all rules and turns of the game" then the sense of unexpected beauty and strangeness of stories will be a reward for them in return. Another definition given by Tzvetan Todorov is that fantasy is classed by as "the law of nature" and "unquestionably supernatural happenings" while fantasy is generally termed "nonsense or absurdity" by Eric Rabkin whose opinion of true fantasy is represented by a fairy tale Alice in Wonderland (Attebery, 1980, p.3). Based on W. R. Irwin's definitions, fantasy invokes wonder and leads to readers' curiosity as well as arouses readers' interests by making impossibility and extrapolation seem familiar and the familiar seem new and strange (Attebery, 1980). More than realistic and science fiction, a more acceptable and better fiction work of fantasy can "clarify philosophical and moral conflicts, embodying them in storylines", which can inspire or please readers and give readers "comprehensible form to life, death, good and evil" (Attebery, 1980, p.3-4).
In conclusion, science fiction seems more realistic and conventional than fantasy because science fiction may not violate the law of nature but the invention of fantasy might violate the law of nature and have no agreement with readers to accept how its story will be going on.
References:
Attebery, B. (1980). The Fantasy Tradition in American Literature: From Irving to Le Guinn. Bloomington: Indiana U P, 1980.
Le Guinn, U. (2005). Plausibility in Fantasy. Retrieved from http://www.ursulakleguin.com/PlausibilityinFantasy.html
Sorry, forget to add which questions I discuss :)
Delete1) How is science fiction different from fantasy, according to Le Guinn?
2) How does Attebery (1980) define Fantasy? Find at least five definitions?
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Delete4) What are some archetypes that often recur in fantasy fiction? Give examples from Earthsea and other fantasy works you might know.
ReplyDeleteArchetypes are important in fictional writing as they are what tether the fictional world to the real world and what connects readers to a story. “Archetypes infuse fantasy writing, as well as all other genres, with life and meaning. Many famous fantasy stories include them.” (Peake, n.d.). This is especially significant in fantasy writing because no matter how far from reality a story is, almost everyone can relate to typical themes such as love and friendship.
There are several archetypal characters that are identified in Vogler's book, 'The Writer's Journey'. These include the 'Hero', the 'Mentor', the 'Threshold Guardian', the 'Herald', the 'Shapeshifter', the 'Shadow', the 'Ally' and the 'Trickster' ("The Writer's Journey: Mythic Structure for Writers", 2017). These archetypes have been popularly used in literature throughout history and even still today. The hero is someone who the audience can relate to. Heroes are typically the main character who guides the audience through the journey. Many writers like to use young characters who are trying to figure out who they are and how they fit in society, because most readers can relate to this. Heroes are the protagonists who guide the audience through the hero's journey. In Wizard of Earthsea this is Ged and although his world is full of magic and wizards, the writer makes Ged relatable with the emotional struggles he faces as a young adult. The mentor is someone who guides the hero to victory and makes sure he chooses the right path. Because the hero is thrown into a new world or adventure with no knowledge or skills to be able to succeed, the mentor is there to "give them a fighting chance". This role is filled by Ged's teacher Ogion. Although Ged has many teachers throughout the story, Ged knows and even admits that Ogion is his true master. This is because Ogion is the person who introduces Ged to the balance and is the person who guides Ged towards the right path. The herald is someone or something that initiates the hero's want and need of change. They show themselves in the beginning and introduces the hero to a new world. Therefore, Ogion also acts as the herald as he is the one who shows Ged towards his new journey (Winkle, 2014).
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DeleteThe ally is important as he shows the audience that the hero that has been presented to them is worthy of the role. This is Vetch, someone who lives a balanced life and who supports Ged and gives him the confidence to become the great Wizard he is meant to be. The Shadow is the antagonist of the story. Their purpose is to create conflict and struggles that the hero must overcome. "The shadow is especially effective if it mirrors the hero in some way. It shows the audience the twisted person the hero could become if they head down the wrong path, and highlights the hero’s internal struggle." In Wizard of Earthsea, the shadow is literally named 'the shadow' and is a part of Ged. In the end he discovers that he and the shadow share the same true name which must mean that they are one of the same being.
DeletePopular television series commonly use archetypes like these as a basis for their characters. A great example of this is the series 'Teen Wolf'. Scott McCall, the hero who puts everyone else before himself without hesitation. Like Ged, Scott is introduced as a child and as the story progesses we see the change and acceptance that the hero is looking for. Derek Hale and Alan Deaton, Scott's mentors who help him discover who he is as an Alpha wolf and helps guide him through his journey. Like Ogion, Derek is the one who teaches Scott how to use his powers. The Herald is the bite that changes the hero, the catalyst that introduces Scott to the supernatural world. The ally offers support while giving the hero another point of view other than his own. In Teen Wolf, it seems the ally and the trickster become one and we see this in Scott's best friend, Stiles Stalinski. Stiles follows the hero on his adventures and shows his loyalty through the ordeals they face together. However, like the trickster, Stiles brings humour to the show, bringing in a different perspective as he is the only human in the group.
The shadow and the threshold guardian are not represented in this series as characters, but rather as themes. The shadow in this series is represented by Scott’s primal urges which he is constantly fighting to control by hiding himself away from the world to protect the people he loves. The threshold guardian is the tests and challenges the hero faces and can come in many shapes and forms. The threshold guardian is always changing throughout the seasons. The hero and his friends face many different challenges as the series progresses.
Bibliography
Peake, M (n.d) Arcetypes in Fantasy Writing. Retrieved from
http://fantasyguide.stormthecastle.com/fantasyguide_essays/archetypes-in-fantasy-writing-by-marilyn-peake.htm
The Writer's Journey: Mythic Structure for Writers. (2017). En.wikipedia.org. Retrieved from https://en.wikipedia.org/wiki/The_Writer%27s_Journey:_Mythic_Structure_for_Writers
Winkle, C. (2014). The Eight Character Archetypes of the Hero’s Journey. Mythcreants. Retrieved from https://mythcreants.com/blog/the-eight-character-archetypes-of-the-heros-journey/
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ReplyDelete