Fantasy in the context of "Sapphic literature"

A stock character, also known as a character archetype, is a type of character in a narrative (e.g. a novel, play, television show, or film) whom audiences recognize across many narratives or as part of a storytelling tradition or convention. There is a wide range of stock characters, covering people of various ages, social classes and demeanors. They are archetypal characters distinguished by their simplification and flatness. As a result, they tend to be easy targets for parody and to be criticized as clichés. The presence of a particular array of stock characters is a key component of many genres, and they often help to identify a genre or subgenre. For example, a story with the stock characters of a knight-errant and a witch is probably a fairy tale or fantasy.

There are several purposes to using stock characters. Stock characters are a time- and effort-saving shortcut for story creators, as authors can populate their tale with existing well-known character types. Another benefit is that stock characters help to move the story along more efficiently, by allowing the audience to already understand the character and their motivations. Furthermore, stock characters can be used to build an audience's expectations and, in some cases, they can also enhance narrative elements like suspense, irony, or plot twists if those expectations end up subverted.

Alice's Adventures in Wonderland (also known as Alice in Wonderland) is an 1865 English children's novel by Lewis Carroll, a mathematics don at the University of Oxford. It details the story of a girl named Alice who falls through a rabbit hole into a fantasy world of anthropomorphic creatures. It is seen as an example of the literary nonsense genre. The artist John Tenniel provided 42 wood-engraved illustrations for the book.

It received positive reviews upon release and is now one of the best-known works of Victorian literature; its narrative, structure, characters and imagery have had a widespread influence on popular culture and literature, especially in the fantasy genre. It is credited as helping end an era of didacticism in children's literature, inaugurating an era in which writing for children aimed to "delight or entertain". The tale plays with logic, giving the story lasting popularity with adults as well as with children. The titular character Alice shares her name with Alice Liddell, a girl Carroll knew—scholars disagree about the extent to which the character was based upon her.

In the book-trade, genre fiction, also known as formula fiction, or commercial fiction, encompasses fictional works written with the intent of fitting into a specific literary genre in order to appeal to readers and fans already familiar with that genre. These labels commonly imply that this type of fiction places more value on plot and entertainment than on character development, philosophical themes, or artistic depth. This distinguishes genre fiction from literary fiction.

The main genres are crime, fantasy, romance, science fiction and horror—as well as perhaps Western, inspirational and historical fiction.

An incantation, spell, charm, enchantment, or bewitchery is a magical formula intended to trigger a magical effect on a person or objects. The formula can be spoken, sung, or chanted. An incantation can also be performed during ceremonial rituals or prayers. In the world of magic, wizards, witches, and fairies are common performers of incantations in culture and folklore.

In medieval literature, folklore, fairy tales, and modern fantasy fiction, enchantments are charms or spells. This has led to the terms "enchanter" and "enchantress" for those who use enchantments. The English language borrowed the term "incantation" from Old French in the late 14th century; the corresponding Old English term was gealdor or galdor, "song, spell", cognate to ON galdr. The weakened sense "delight" (compare the same development of "charm") is modern, first attested in 1593 (OED).

A monster is a type of imaginary or fictional creature found in literature, folklore, mythology, horror, fantasy, fiction and religion. They are very often depicted as dangerous and aggressive, with a strange or grotesque appearance that causes terror and fear, often in humans. Monsters usually resemble bizarre, deformed, otherworldly and/or mutated animals or entirely unique creatures of varying sizes, but may also take a human form, such as mutants, ghosts, spirits, vampires or zombies, among other things. They may or may not have supernatural powers, but are usually capable of killing or causing some form of destruction, threatening the social or moral order of the human world in the process.

Animal monsters are outside the moral order, but sometimes have their origin in some human violation of the moral law (e.g. in the Greek myth, Minos does not sacrifice to Poseidon the white bull which the god sent him, so as punishment Poseidon makes Minos' wife, Pasiphaë, fall in love with the bull. She copulates with the beast, and gives birth to the man with a bull's head, the Minotaur). Human monsters are those who by birth were never fully human (Medusa and her Gorgon sisters) or who through some supernatural or unnatural act lost their humanity (werewolves, Frankenstein's monster), and so who can no longer, or who never could, follow the moral law of human society.

A superpower is a special or extraordinary ability far greater than what is considered normal, possessed by those of superhuman status. Superpowers are typically displayed in science fiction and fantasy media such as comic books, TV shows, video games, and film as the key attribute of a superhero. The concept originated in American comics and pulp fiction of the 1930s and 1940s, and has gradually worked its way into other genres and media.

In mythology, folklore and speculative fiction, shapeshifting is the ability to physically transform oneself through unnatural means. The idea of shapeshifting is found in the oldest forms of totemism and shamanism, as well as the oldest existent literature and epic poems such as the Epic of Gilgamesh and the Iliad. The concept remains a common literary device in modern fantasy, children's literature and popular culture. Examples of shape-shifters include changelings, jinns, kitsunes, vampires, and werewolves, along with deities such as Loki and Vertumnus.

A romance or romantic novel is a genre fiction work focused on the relationship and romantic love between two people, often concluding with an emotionally satisfying or optimistic ending. Authors who have significantly contributed to the development of this genre include Samuel Richardson, Frances Burney, Maria Edgeworth, Jane Austen, Charlotte Brontë, Emily Brontë, and Anne Brontë.

Romance novels can encompass various subgenres, such as fantasy, contemporary, historical romance, paranormal fiction, sapphic, and science fiction. They may also contain tropes such as enemies to lovers, second chance, and forced proximity. While women have traditionally been considered the primary readers of romance novels, a 2017 study commissioned by the Romance Writers of America found that men accounted for 18% of romance book buyers.

Magical realism, magic realism, or marvelous realism is a style or genre of fiction and art that presents a realistic view of the world while incorporating magical elements, often blurring the lines between speculation and reality. Magical realism is the most commonly used of the three terms, and refers to literature, in particular, with magical or supernatural phenomena presented in an otherwise real-world or mundane setting, and is commonly found in novels and dramatic performances. In his article "Magical Realism in Spanish American Literature", Luis Leal explains the difference between magic literature and magical realism, stating that, "Magical realism is not magic literature either. Its aim, unlike that of magic, is to express emotions, not to evoke them." Despite including certain magic elements, it is generally considered to be a different genre from fantasy because magical realism uses a substantial amount of realistic detail and employs magical elements to make a point about reality, while fantasy stories are often separated from reality. The two are also distinguished in that magic realism is closer to literary fiction than to fantasy, which is instead a type of genre fiction. Magical realism is often seen as an amalgamation of real and magical elements that produces a more inclusive writing form than either literary realism or fantasy.

Speculative fiction is an umbrella genre of fiction that encompasses all the subgenres that depart from realism, or strictly imitating everyday reality, instead presenting fantastical, supernatural, futuristic, or other highly imaginative realms or beings.

This catch-all genre includes, but is not limited to: fantasy, science fiction, science fantasy, superhero, paranormal and supernatural horror, alternate history, magical realism, slipstream, weird fiction, utopia and dystopia, apocalyptic and post-apocalyptic fiction. In other words, the genre presents individuals, events, or places beyond the ordinary real world.

Slipstream is a literary genre or category of speculative fiction that blends together science fiction, fantasy, and literary fiction, or otherwise does not remain within conventional boundaries of genre and narrative. It directly extends from the experimentation of the New Wave science fiction movement while also borrowing from fantasy, psychological fiction, philosophical fiction and other genres or styles of literature.

Historical examples of the genre were partially codified in Feeling Very Strange: The Slipstream Anthology; contemporary examples include Peaces by Helen Oyeyemi, The Dangers of Smoking in Bed by Mariana Enríquez, and The Butterfly Lampshade by Aimee Bender.

Manga (Japanese: 漫画; IPA: [maŋga] ) are comics or graphic novels originating from Japan. Most manga conform to a style developed in Japan in the late 19th century, and the form has a long history in earlier Japanese art. The term manga is used in Japan to refer to both comics and cartooning. Outside of Japan, the word is typically used to refer to comics originally published in Japan.

In Japan, people of all ages and walks of life read manga. The medium includes works in a broad range of genres: action, adventure, business and commerce, comedy, detective, drama, historical, horror, mystery, romance, science fiction and fantasy, erotica (hentai and ecchi), sports and games, and suspense, among others. Many manga are translated into other languages.

Science fantasy (abbreviated as sci-fantasy) is a hybrid genre within speculative fiction that simultaneously draws upon or combines tropes and elements from both science fiction and fantasy. In a conventional science fiction story, the world is presented as grounded by the laws of nature and comprehensible by science, while a conventional fantasy story contains mostly supernatural elements that do not obey the scientific laws of the real world. The world of science fantasy, however, is laid out to be scientifically logical and often supplied with hard science–like explanations of any supernatural elements.

During the Golden Age of Science Fiction, science fantasy stories were seen in sharp contrast to the terse, scientifically plausible material that came to dominate mainstream science fiction, typified by the magazine Astounding Science Fiction. Although science fantasy stories at that time were often relegated to the status of children's entertainment, their freedom of imagination and romance proved to be an early major influence on the "New Wave" writers of the 1960s, who became exasperated by the limitations of hard science fiction.

A fictional universe, also known as an imagined universe or a constructed universe, is the internally consistent fictional setting used in a narrative or a work of art. This concept is most commonly associated with works of fantasy and science fiction, and can be found in various forms such as novels, comics, films, television shows, video games, and other creative works.

In science fiction, a fictional universe may be a remote alien planet or galaxy with little apparent relationship to the real world (as in Star Wars). In fantasy, it may be a greatly fictionalized or invented version of Earth's distant past or future (as in The Lord of the Rings).

Fantastique is a French term for a literary and cinematic genre and mode that is characterized by the intrusion of supernatural elements into the realistic framework of a story, accompanied by uncertainty about their existence. The concept comes from the French literary and critical tradition, and is distinguished from the word "fantastic", which is associated with the broader term of fantasy in the English literary tradition. According to the literary theorist Tzvetan Todorov (Introduction à la littérature fantastique), the fantastique is distinguished from the marvellous by the hesitation it produces between the supernatural and the natural, the possible and the impossible, and sometimes between the logical and the illogical. The marvellous, on the other hand, appeals to the supernatural in which, once the presuppositions of a magical world have been accepted, things happen in an almost normal and familiar way. The genre emerged in the 18th century and knew a golden age in 19th century Europe, particularly in France and Germany.