‘Fantasy literature’ is a term most people have come across at some point in their lives nowadays. [...] Since the recognition of
fantasy as a literary genre, “most have treated it as an international and mainly Anglo-Saxon form" (Manlove:1999, 1). Therefore, it appears only reasonable to take a closer
look at the sort of fantasy literature that originates from the English-speaking countries. [...] Some of the best known authors of fantasy literature are of English or Scottish origin. Both England and Scotland begot highly creative and sophisticated fantasists. And works of both English and Scottish fantasy have had a great impact on the entire genre. [...] Although they are neighbours and share a common language, English and Scottish fantasists have always had very different ways of expressing themselves. The aim of this dissertation is to point out the similarities as well as the differences of English and Scottish fantasy literature, in order to clarify what it is exactly
that characterises them. As there are a great many different pieces of literature which provide material for the analysis and characterisation of Scottish and English fantasy,
statements on the two shall be underlined with examples. [...] A famous English novel belonging to the fantasy genre is Alice’s Adventures in Wonderland (AAW) written by
Lewis Carroll in 1865. It is often categorised as children's fantasy. One of the most famous pieces of Scottish fantasy literature, which was also written for children, is J. M.
Barrie’s Peter Pan (PP), published in 1911. These two books will serve as the basis for
a comparison of English and Scottish fantasy literature.
At the beginning of this dissertation, the attempt for a general definition of the
term ‘fantasy literature’ will be made. This will be followed by a short characterisation of
fantasy in the historical context of the Victorian era, as well as a definition of the
category ’children’s fantasy'. Then there will be a general characterisation of Scottish
and then of English fantasy. After that, the two novels will be introduced, beginning with
short biographies of their authors, followed by summaries of their plots and then an
examination of the respective characteristics that mark them as either Scottish or
English. Based on the results of the analysis, the dissertation concludes with a
comparison of English and Scottish fantasy. The books written by Colin Manlove [...] will serve
as the most important resource for this analysis.
Table of Contents
I. Introduction
II. Fantasy Literature
A. A Definition of Fantasy
B. Victorian Fantasy
C. Children’s Fantasy
III. English Fantasy Literature
IV. Scottish Fantasy Literature
V. Alice in Wonderland
A. Lewis Carroll - Biography
B. Story
C. Characteristics that mark the story as English Fantasy
VI. Peter Pan
A. James Matthew Barrie – Biography
B. Story
C. Characteristics that mark the story as Scottish Fantasy
VII. Conclusion
VIII. Bibliography
Research Objectives and Key Topics
The primary aim of this dissertation is to conduct a comparative analysis of English and Scottish fantasy literature by examining their fundamental similarities and differences. Through the study of two canonical works, the research seeks to define the distinct characteristics of each national tradition and determine how these traits manifest within children's fantasy literature.
- Theoretical definitions of fantasy literature and its Victorian context.
- Distinction between English fantasy (extrovert, empirical) and Scottish fantasy (introspective, psychological).
- Analysis of Lewis Carroll’s Alice in Wonderland as a case study for English fantasy.
- Analysis of J.M. Barrie’s Peter Pan as a case study for Scottish fantasy.
- Evaluation of the influence of national identity on literary creativity.
Excerpt from the Book
C. Characteristics that mark the story as English Fantasy
Of course, not all characteristics Manlove considers to be distinctly English or Scottish always apply to every work in literature that is considered English or Scottish fantasy. However, we can expect to find a relatively large number of the characteristics he names as English in works that are considered English fantasy and the same should be the case for the works of Scottish fantasy. Hence, it is necessary to find out how many of the characteristics he mentions actually do apply to Alice, and which of them do not .
English children’s fantasy is often parodic. This is the case for AAW, because Alice is often told to recite certain poems. At the time of Lewis Carroll, those poems were well-known and supported by the moralists and the educative system, e. g. “How Doth the Little Busy Bee”. Alice makes nonsense out of it and turns it into “How Doth the Little Crocodile”. In English fantasy there is an emphasis on mind-broadening adventure, something is acquired through experience and there is usually a quest outwards in which something in gained or there is some sort of evolution or self-fulfilment.
Summary of Chapters
I. Introduction: The introduction establishes the scope of the dissertation, highlighting the importance of the British Isles in fantasy literature and outlining the comparative approach using Alice and Peter Pan.
II. Fantasy Literature: This chapter provides a theoretical framework by defining fantasy as a genre and examining its evolution during the Victorian era and specifically within children’s literature.
III. English Fantasy Literature: The chapter explores the characteristics of English fantasy, focusing on themes like adventure, external quests, and the tendency toward clear boundaries and happy endings.
IV. Scottish Fantasy Literature: This section details the psychological and introspective nature of Scottish fantasy, identifying contrastive imagery and a tendency toward linear or open-ended narratives.
V. Alice in Wonderland: The chapter analyzes Lewis Carroll’s life and work, evaluating the novel against the previously established criteria to confirm its status as English fantasy.
VI. Peter Pan: This chapter investigates Barrie’s biography and the narrative of Peter Pan, identifying how it conforms to or deviates from the established characteristics of Scottish fantasy.
VII. Conclusion: The conclusion synthesizes the findings, confirming that while both works are children’s fantasy, they embody the distinct regional characteristics of their respective literary traditions.
VIII. Bibliography: A comprehensive list of primary and secondary sources used for the literary analysis.
Key Keywords
Fantasy Literature, English Fantasy, Scottish Fantasy, Victorian Era, Children’s Fantasy, Lewis Carroll, J.M. Barrie, Alice in Wonderland, Peter Pan, Colin Manlove, Supernatural, Psychological, Narrative, Metamorphosis, Self-analysis
Frequently Asked Questions
What is the core subject of this thesis?
The thesis explores the fundamental differences between English and Scottish fantasy literature by comparing their stylistic, thematic, and cultural characteristics.
What are the primary fields of focus?
The work focuses on the Victorian era, children's literature, national literary identities, and the specific definitions of fantasy provided by critic Colin Manlove.
What is the main research question?
The study asks what characterizes English versus Scottish fantasy and how these national traits are expressed in the novels Alice in Wonderland and Peter Pan.
Which scientific methods are employed?
The author uses a comparative literary analysis, applying theoretical frameworks of fantasy literature to two primary texts to test their applicability.
What topics are addressed in the main body?
The main body covers the definitions of fantasy, the historical context of Victorian literature, and detailed individual analyses of the primary texts regarding their national origins.
What are the most significant keywords defining this work?
Key terms include fantasy genre, English/Scottish tradition, children's literature, internal quest, psychological depth, and national literary boundaries.
How does the author characterize English fantasy?
English fantasy is described as generally optimistic, extroverted, empirical, and often featuring a circular structure with a clear, happy ending.
What makes Scottish fantasy distinct from English fantasy?
Scottish fantasy is identified as more introspective, psychological, linear, and prone to dark, night-centered imagery rather than the daylight-focused narratives of its English counterpart.
Why is Alice in Wonderland considered a typical English fantasy?
It exhibits English characteristics like the quest for experience, the presence of secondary worlds, and the "charmed circle" structure, despite its nonsense elements.
How does Peter Pan complicate the classification of Scottish fantasy?
While Peter Pan contains Scottish elements like solitary heroes and dark atmosphere, it also incorporates adventure and children's fantasy tropes that bridge the gap between both national traditions.
- Citation du texte
- Amina Belabbes (Auteur), 2009, Alice in Wonderland and Peter Pan, Munich, GRIN Verlag, https://www.grin.com/document/136324
