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Amaryll Beatrice Chanady distinguishes magical realist literature from fantasy literature ("the fantastic") based on differences between three shared dimensions: the use of antinomy (the simultaneous presence of two conflicting codes), the inclusion of events that cannot be integrated into a logical framework, and the use of authorial reticence ...
Many other similar magazines eventually followed, including The Magazine of Fantasy and Science Fiction; when it was founded in 1949, the pulp magazine format was at the height of its popularity, and the magazine was instrumental in bringing fantasy fiction to a wide audience in both the U.S. and Britain. Such magazines were also instrumental ...
It was not until 1923 that the term "fantasist" was used to describe a writer (in this case, Oscar Wilde) who wrote fantasy fiction. [49] The name "fantasy" was not developed until later; as late as J.R.R. Tolkien's The Hobbit, the term "fairy tale" was still being used. An important factor in the development of the fantasy genre was the ...
Third is the illusion or realist theories, for example from Alan Paskow. The illusion theories deny premise 3 and claim that, in a way, the fictional characters are real. They suggest that Samuel Taylor Coleridge was right in saying that fiction involves a "willing suspension of disbelief", i.e. believing in the fiction while engaging with it.
An important factor in the development of the fantasy genre was the arrival of magazines devoted to fantasy fiction. The first such publication was the German magazine Der Orchideengarten which ran from 1919 to 1921. [55] In 1923, the first English-language fantasy fiction magazine, Weird Tales, was created. [56]
In psychology, fantasy is a broad range of mental experiences, mediated by the faculty of imagination in the human brain, and marked by an expression of certain desires through vivid mental imagery. Fantasies are generally associated with scenarios that are impossible or unlikely to happen.
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Language philosopher Steve Neale distinguishes between two types: cultural verisimilitude, meaning plausibility of the fictional work within the cultural and/or historical context of the real world, outside of the work; and generic verisimilitude, meaning plausibility of a fictional work within the bounds of its own genre (so that, for example ...