Week four: How does Attebery (1980) define fantasy?

Attebery uses stories from other authors to define what he believes the different definitions of fantasy are. The authors and stories that he looks at to define fantasy are J.R.R Tolkien (The Lord of The Rings), C.S Lewis (Narnia) Lewis Carol (Alice in Wonderland) and Kevin Grahame (The Wind in the Willows).  These authors touch on themes throughout the books such as Gothicism, science fiction, and utopia. These themes all tap into characteristics of fantasy which helps Attebery to define what fantasy is.

Attebery uses W.R Irwin as an example for one of his definitions of fantasy. Irwin has suggested that something that seems to be ordinary and familiar can sometimes be distorted to create a fictional world. The fiction and magic of the seemingly ordinary object or person challenges the everyday ’norm’ that we are use to seeing and brings out a fantasy that seems impossible to us as humans. This can happen to the degree that the reader begins to believe that these odds can in-fact come true. This happens in Narnia when a seemingly normal wardrobe becomes the path to another fictional world and readers can begin to believe that a wardrobe is the entrance to a fictional world in reality.

Another definition of fantasy is that it needs consistency. The reader and writer need to maintain a consistent illusion for the entire course of the story. Tolken mentions this consistency as ‘secondary belief’. Fantasy must stay consistent in order for the reader to escape from everyday live through fantasy. It must be dependable to stay believable to the reader and so that chapters in the story make sense without the storyline going off-track and no longer making sense. Persistent stories also allow for sequels to books such as Harry Potter, Archipelago Earth Sea and The Lord of the Rings.

Fantasy allows to reader to guess what may happen in the storyline as it is set in a fictional world and the possibilities of the story are much more unlimited. For example in Earth Sea the reader does not know who will survive battles and if Ged will survive the missions he goes on. The storyline keeps to audience on edge, as they do not know what is going to happen. Fantasy helps to arouse curiosity by making the impossible seem a reality. This is because fantasy can be based off real life or every day events. For example Ged was a regular young boy who worked as a blacksmith for his father. This everyday activity then grew into a fantasy world and story and the reader was left to guess what was going to happen to Ged next.

One of my favourite ways that Attebury describes fantasy is by saying, “Line up a shelf of books and say “there this is what I mean by fantasy” Attebury (1980). Here he is referring to his favourite fantasy books and I think that this quote sums up how individuals can define fantasy so differently from one another, and how different genres such a science fiction and Gothicism can make up what each individual believes fantasy is.

Finally Attebery describes fantasy to be anything that creates stories, tales and images such as dragons, witches, and people fighting against evil by beating them with spells or wands. This is because fantasy treats these impossibilities without any doubt or hesitation.

I find it fascinating that fantasy can be so broad and interpreted differently by everyone through the many themes and genres that can make up fantasy.

Attebury, B. (1980). Locating Fantasy. In the Fantasy Tradition in American Literature: From Irving to Le Guinn (pp.2-9). Bloomington: Indiana

Week Three

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

Fantasy can be defined in many different ways. Some may assume that fantasy is a structure, a state of mind, a form of science fiction or a technique. I believe that fantasy speaks to our desires. Most of us want to be something that is more than human. For example I have always wanted to have magical powers. Most of us enjoy some element of fantasy, this may be because we are somewhat dissatisfied with our human lives and want to break the law. 

Attebery firstly defines fantasy by naming some of his favorite books ‘Lord of the Rings, Wind and the Willows, and Princess and the Goblin’. He says 'perhaps the most satisfying way would be to line up a shelf of books and say "There. That is what I mean by fantasy"'. My bookshelf also has some fantasy such as Twilight, Vampire Diaries, Harry Potter and Lord of the Rings. Attebery states that fantasy is somewhat expansive therefore certain elements need to be outlined to explain what fantasy is.  

Attebery states there are many ways that a fantasy novel can proclaim its fantasy nature. By this he means that it can involve beings whose existence is impossible, such as dragons, flying horses, vampires, wizards etc. Fantasy may also take the form around certain objects such as wands, hats and houses. Fantasy uses these objects, places or forms of humans without hesitation or doubt, which makes us, believe that maybe some day this may come true. Even though I know magic is not true and vampires are just a fantasy there is some part of me that wants to believe they are real. I believe Attebery wants readers to let go and embrace their imagination and enter in a world where wizards, dragons and magic is normal. 

Atterbery believes that fantasy needs consistency so that the writer and reader can continue to use their imagination and the illusion through the entire course of the novel. He believes that “fantasy invokes wonder by making the impossible seem familiar and familiar seem new and strange”. I agree with this statement because when we read fantasy we are exploring the unknown. We imagine a world where witches and magic seem normal. We only leave this world when we close the book and our imagination.    

Attebery also mentions that fairytales and folklore can be classed as fantasy. Although not all fantasy is a fairytale, all fairytales are a fantasy. For example if you were out hunting and saw a small bear you would tell your friends and family that day what you saw. But lets say 15 years down the track you tell your kids that you were out hunting and were chased by a 6 foot tall bear which had vicious teeth and looked rather hungry. Basic events that happen in your life can always be twisted and turned into some sort of fantasy. Tolkin says “fact became legend, legend became myth”. To discover what folklore or fairytales are just chuck on a Disney DVD and you will see that these fairytales have all turned into fantasies. 

Attebery also touches on the darker side of fairytales. If you look at well-known stories such as the Three Little Pigs, Goldie Locks, or Hansel and Gretel each story is actually quite shocking. Being torn to pieces for eating someone’s porridge or having your house blown down does not sound like any fantasy of mine. Not all fantasy is dark but I feel their needs to be some element of darkness to ad to the excitement of the story.  

Week 2: How does Farr (1991) justify Tintin's appeal to adults?

Tintin, a young reporter from Belgium, travels around the world to unravel mysteries; along with his sidekick dog, Snowy.
Truthfully, Tintin had never really appealed to me in my childhood. I am not too sure if it was because comics were a foreign form of media in my culture, but in very recent days, I can honestly say that it appeals to me now; after exploring a bit of the Tintin world in class, that is. Its popularity with children 'was' the main goal, but why was/is it so popular among adults, too?

Tintinologist, Michael Farr, explains Tintin’s appeal to different generations. Farr (1991) mentions that Herge’s formula of a hero is what appeals to the masses of different age groups. He is your average kid (with a not-so average job for a kid his age) who is as flawed as any person. The things that make Tintin appealing are the qualities that he possesses which constitute this heroic image he has maintained for many decades. As stated by group member Sam, “the appeal is … self-generating” (Farr, 1991). A Tintin-loving child will eventually become an adult, adding to the popularity among mature readers. Yip (2011), from a Singaporean newspaper, also mentions that Tintin fans of many decades ago are still reading the nostalgic Tintin series.

Tintin does not deal with trivial matters. In fact, there is more to every adventure that Tintin goes through. Younger age groups are inclined to join Tintin in this partially fictional world with your typical enemies and your usual sidekicks, while learning a little bit from Tintin himself. But adult readers see the underlying messages that Herge inserts into his comics. At the time of each comic, Herge would draw things or events to keep some realism in the world of Tintin. Farr (1991) states that Herge had kept an archive of photos, from vehicles to foreign towns, and used them as a model for his comics. Yip (2011) reports that another factor adding to Tintin’s popularity among adults is the “complex language” that Herge uses. 

The Tintin series are still popular around the world today, but more with the older generation than the new. The most recent Tintin movie, "The Adventures of Tintin" (2011), is believed to be the form of media that has pulled in some new young and mature fans.


Reference

Farr, Michael. (1991). Tintin: the complete companion. London: John Murray.

Yip, W. Y. (2011, Nov 12). Tintin fans mostly adults. The Straits Times, pp. n/a. Retrieved from http://ezproxy.aut.ac.nz/login?url=http://search.proquest.com/docview/903501643?accountid=8440

Week 2: How might Hergé's The Blue Lotus address or relate to what Said (1977) terms 'orientalism'?

The idea of “Orientalism” in the view of Said (1977) is an idea constructed by the West. It romanticises the reality, depicting it as a place of “...exotic beings, haunting memories and landscapes...” (p.87), created as a polarization to Western culture and viewed as the “Other”. Said has stated “European culture gained in strength and identity by settling itself off against the Orient as a sort of surrogate and even underground self”, he goes on to say that the idea of “other” is a relationship of power and domination on part of the West. Herge’s Blue Lotus addresses these issues. This particular work is a progression from his previous works which were viewed as racist (for example Tintin in the Congo).

In the Blue Lotus there is a particular scene in which Herge directly addresses this idea of “Orientalism”. This scene is where Tintin saves Chang from the river and a conversation follows about the various stereotypes that both cultures have of one another. As Said has stated in his text, the “Orient” is more than a political notion, it was created to make easier to understand a culture that was foreign to the West. I think this is relevant to The Blue Lotus because it is evident that Herge has tried to remedy this idea by making sure that he has correctly portrayed aspects of the Chinese culture, for example in case of the street signs, clothing, the landscape, the people, etc through the aid of his friend Chang Chong-chen. However, there are still small mistakes, such as the costumes worn my Thompson and Thompson which is something usually worn by an emporer. This is a contrast to what Herge had done with Tintin in the Congo, where the African features were exaggerated. 

References:

Said, E. (1977) Orientalism. In Ashcroft, B. Griffiths, G. & Tiffin, H. (Ed.), The Postcolonial   Studies Reader (pp.87-91). London: Routledge.

Week Two, do you think comics are a children's or adult genre/media?

I never read Tintin when I was younger, however after reading the Blue Lotus recently I really enjoyed it and found the detail of the settings, characters and situations that Tintin found himself in much more appealing than I would have when I was younger. Perhaps this is because I can now understand some of the underlying messages that Herge has placed in the comics. For example when the Chinese man is yelled at by a Western man and is called a “dirty little China man”. I found that reading the comic now I could interpret Herge’s underlying message of class structure and culture. However, my brother read a lot of comic books when he was younger and enjoyed Tintin. Maybe this was because Tintin was aimed towards a young male audience. The adventure section of Tintin seems to appeal to younger audiences and the character of Tintin is easily relatable to teenagers. Tintin is a teenage boy and has characteristics such as loyalty, bravery, a passion for adventure and he is somewhat naive towards other characters. Children can relate well to Tintins character as they too, are around the same age and can relate to some of Tintin’s traits.

Tintin has become a global brand. There are owebsites where people are able to order Tintin merchandise online. The Tintin store in England also offers a full range of Tintin products for shoppers, they are able to purchase items such as books, posters, t-shirts, Snowy toys, shopping bags and much more. The brand that has come out of Tintin can appeal to both adults and children and the generation of Tintin readers who are now adults are able to escape back their childhood through Tintin comics and comic books in general.

With the release of the Tintin movie in 2011 both children and adults were able to enjoy a film version of Tintin’s adventures. Stephen Spielberg directed the film, which must have appealed to him, and being an adult shows that comics can appeal to both adults and children. Tintin may also appeal to adults as they can appreciate the amount of research the Herge put into his comics “before drawing the red sea sharks, Herge and his studio assistant Bob de Moor spent several weeks on a Swedish cargo ship, sketching and photographing everything they could” Horrocks (2003). Many adult readers can regognise the settings in the comics and this could appeal to them as they understand and appreciate the amount of effort and time that Herge put into his work. Both adults and children can enjoy comic books and I believe that the genre is suitable for any age group.

Reference:

Horrocks, D. The Perfect Planet. Comics, Games and World-Buidling. Retrieved from http://www.hicksville.co.nz/PerfectPlanet.htm

Herge and his research on China

How did Hergé research China for The Blue Lotus?

In previous Tintin comics Herge had fallen into the trap of stereotyping other cultures. For example in Land of the Soviets, the Chinese are portrayed as ‘evil’ torturers with slit eyes and long black ponytails.  To date the foreign lands that Tintin had travelled were clichés of the 1920s and 1930s. Bolsheviks were evil,

Americans were seen as gangsters or capitalists and Red Indians were gullible and naïve.

The Blue Lotus represents a turning point in his work. For the first time an adventure has a carefully devised structure. It is more firmly rooted in reality, and carefully planned. All this planning, research and structure came from Chang Chong-chen.

Herge was introduced to Chang Chong-chen in 1934. Chang Chong-chen was a Chinese art student from Brussels.  A priest (Father Gosset) who was a chaplain to the Chinese students wrote to Herge asking him to avoid clichés and have a closer look at the Chinese and do his research properly. Herge always keen to learn and a bit of a perfectionist took on his advice and met Chang Chong-chen.

Herge believed that up until his encounter with Chang, China was filled of slit-eyed people who were cruel, rude and had long ponytails. The pictures and stories of the time influenced Herge and his perception on China was incorrect.

Herge wanted to change the perception people had on China and felt that these prejudices needed to change. On page 43 Tintin pulls a boy out of the river, the boy is in shock and cannot believe that Tintin is helping him. They talk about how one another’s culture is judged “you see, different peoples don’t know enough about each other”.

After meeting and talking to Chang, Herge began his ‘documentalist’ period. Herge began to look for real pictures of China, he started sketching how the Chinese dress and the architecture. He wanted people to see what China was really like. It is evident in the Blue Lotus that Herge, has portrayed China accurately, not only in terms of its setting and attention to detail on people and buildings but also political events.  

Week Two: Our Beloved Tintin. A Comic Hero.

Our beloved Tin Tin.  Why is he so dearly loved from generation to generation?  First impressions of Tin Tin In The Blue Lotus by Herge: the smart happy-go-lucky courageous one.  Full of life and gumption, he is the thinker, the adventurer, he makes mistakes and is quite the likable lad.  Children all over the world adore him and his dog Snowy.

Can a comic, such as The Blue Lotus by Herge (Georges Remi) be considered serious literature? Sales of Tintin books, audio visual cartoons, memorabilia, and the latest box office hit The Secret of the Unicorn, could prove that the comic strip is certainly a profitable genre, and a popular canon of literature.  Using Tintin as an example, it could even be suggested that the global public are voting yes to comics as an accepted and viable form of literature.  As proof, Tintin has been translated from French into numerous languages and sells all over the world.

Farr (1991) cites Herge as saying “Tintin was aimed at all young people aged from seven to seventy-seven” and suggests that the appeal is “self-generating”.  There appears to be an almost transitional slide from childhood appreciation to adult appreciation as the child “will be gripped by the excitement of Tintin” but the adult will appreciate the greater depth of the storyline and “will additionally find political satire and parody, puns and prescience”.   Hence the appeal to such a range of ages.

From an adult reader’s point of view, The Blue Lotus storyline reveals some of Herge’s interests in politics particularly those of 1930’s China.  At a time of the impending World War II,  Herge’s astute portrayal of China at that time hints at the global doom and gloom to come.  The storyline follows the blowing up of the Nanking Railway and his characters portray his distaste of the threat of a Japanese invasion of China. (Herge, 2002).  “and once again Japan has fulfilled her mission as guardian of law and civilization in the Far East!  If we have been forced, to our utmost regret, to send troops into China, it is for the good of China herself!”

According to Farr (1991), "a lifelong fascination with China was awakened by Chang".  Herge's bias towards China was mainly owing to his great friend Chang Chong-chen from whom he gleaned much advice and inspiration.   Chang Chong-chen even appears as a character in The Blue Lotus and is rescued from drowning by Tintin.  Herge uses this as an opportunity to convey his point of view “but Chang, all white men aren’t wicked.  You see different peoples don’t know enough about each other” (Herge, 2002).

Varnum & Gibbons (2001) cite “comics is one of the most popular and pervasive media forms of our increasingly visual age” and that “pictures seem more transparent than words, but often their transparency is illusory.  They convey ideas and values, and reading them requires sophistication and skill”.  That is to say that the storyline may on the surface appear superficial but, upon reading, deeper meaning, subtext and point of view can be revealed.   The difference between a cartoon, comics and a graphic novel is that “none of the members of the family shares one feature in common with all the others, but any two share common features.”

Walne (2011) cites that Tintin’s “adventures were originally intended for children, but the incredible art and stories offer a timeless appeal for all ages”.

According to Makarechi (2012) of the online newspaper, The Huffington Post, “Tintin hysteria has never really died down since the series debuted in 1929”. 

References:

Farr, Michael. (1991). Tintin: the complete companion. London: John Murray.

Herge. (2002). The Blue Lotus. London, England: Egmont Books Limited.

Varnum, R. & Gibbons, C. (Ed.). (2001). The Language of Comics: word and image. Jackson: U Press of Mississippi.

Walne, T. (2011). How Tintin comics became a rich investment.  Retrieved on August 1, 2012, from http://www.thisismoney.co.uk/money/investing/article-1717174/How-Tintin-comics-became-a-rich-investment.html

Makarechi, K. (2012).  Tintin covers sells for $1.6 million at auction.  Retrieved August 1, 2012, from http://www.huffingtonpost.com/2012/06/02/tintin-cover-sells-16-million_n_1565416.html