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Fantasy

Fantasy
Fairy tales and legends, such as Dobrynya Nikitich's rescue of Zabava Putyatichna from the dragon Gorynych, have been an important source for fantasy. In popular culture, the fantasy genre is predominantly of the medievalist form. In its broadest sense, however, fantasy comprises works by many writers, artists, filmmakers, and musicians, from ancient myths and legends to many recent works embraced by a wide audience today. Fantasy is studied in a number of disciplines (English, cultural studies, comparative literature, history, medieval studies). Traits of fantasy[edit] History[edit] Many works are unclear as to the belief of the authors in the marvels they contain, as in the enchanted garden from the Decameron. Beginning perhaps with the earliest written documents, mythic and other elements that would eventually come to define fantasy and its various subgenres have been a part of literature. Political and social trends can affect a society's reception towards fantasy. Media[edit] Related:  On fantasy writingdivers feuille 5

Magic realism Magic realism or magical realism is a genre where magic elements are a natural part in an otherwise mundane, realistic environment.[1] Although it is most commonly used as a literary genre, magic realism also applies to film and the visual arts. One example of magic realism occurs when a character in the story continues to be alive beyond the normal length of life and this is subtly depicted by the character being present throughout many generations. On the surface the story has no clear magical attributes and everything is conveyed in a real setting, but such a character breaks the rules of our real world. The author may give precise details of the real world such as the date of birth of a reference character and the army recruitment age, but such facts help to define an age for the fantastic character of the story that would turn out to be an abnormal occurrence like someone living for two hundred years. Etymology[edit] Literature[edit] Characteristics[edit] Fantastical elements[edit]

High fantasy Genre overview[edit] High fantasy is defined as fantasy fiction set in an alternative, entirely fictional ("secondary") world, rather than the real, or "primary" world. The secondary world is usually internally consistent, but its rules differ in some way(s) from those of the primary world. Nikki Gamble distinguishes three subtypes of high fantasy:[3] Setting[edit] In some fiction, a contemporary, "real-world" character is placed in the invented world, sometimes through framing devices such as portals to other worlds or even subconscious travels. High fantasy worlds may be more or less closely based on real world milieux, or on legends such as the Arthurian Cycle. Characters[edit] Many high fantasy storylines are told from the viewpoint of one main hero. In other works he is a completely developed individual with his own character and spirit, such as David Eddings' Sparhawk of The Elenium and The Tamuli. In the beginning of the storyline, the hero is threatened by the unknown force.

Building Stronger Story Themes By Timothy Pontious Strong stories are built on strong thematic elements, or combinations of many strong elements. Otherwise, it's not a strong story - just a nice character study that moves around a bit with some pretty scenery. Right? So it stands to reason that if we can dissect a strong story we can find those elements and perhaps borrow some of those ideas to incorporate into our own writing? So if you already bought my premise, we might as well take it one step further. I'm going to compare Star Wars (SW) with Lord of The Rings (LoTR). I've read LoTR many times and enjoyed the movie adaptations. This is neither a complete nor scholarly discussion. The Opening Situation - let's look around: Both stories happen in environments that are fully populated. The magic or technology in the environment do the same job. Both stories open with a vague sense of Evil being rather profound, but far off. Evil comes home for a visit. You can't go home again. Ah, the safety of home. The Good Guys

Dreaming Is a Private Thing "Dreaming Is a Private Thing" is a science fiction short story by Isaac Asimov, first published in the December 1955 issue of The Magazine of Fantasy and Science Fiction and reprinted in the 1957 collection Earth is Room Enough. Asimov's original title for the story was "A Hundred Million Dreams at Once", but F&SF editor Tony Boucher changed it, and Asimov liked the new title so kept it. Jesse Weill is founder and owner of Dreams Inc, a company that produces dreams for the individual's private use, just as films used to be viewed, although they've been superseded by 'dreamies'. Dreamies can be viewed in private at home by anyone with the equipment and cash to buy or rent them (like present day videos or DVDs). They are produced by specially trained individuals, often social loners or eccentrics as a result of their intensive training over many years. Weill is shown a new development—under-the-counter pornographic dreamies—and asked by the government to assist in cracking down on them.

The Writing Café ENS-LSH - section de sociologie Préparation à l'agrégation de sciences sociales. Thème " Les réseaux sociaux " fiche de lecture réalisée par Christophe Nicoud (ENS-LSH) TRAVERS Jeffrey, MILGRAM Stanley (1969), « Une étude expérimentale du problème du petit monde (An experimental study of the small world problem », trad. et présentation de M. [lire ou télécharger cette fiche au format PDF] L’idée de départ de l’expérience de Travers et Milgram est la suivante : étant donnés deux individus tirés au hasard dans une population, quelle est la probabilité pour que le nombre minimum d’intermédiaires requis pour les relier soit 0,1,2…,k ? L’expérience Un document est attribué à des individus-sources, qui doivent essayer de transmettre celui-ci à un individu-objectif (agent de change à Boston), explicitement cité dans le document (nom, adresse, emploi, lieu de travail, université d’origine et durée, dates de services militaire, nom de son épouse, ville d’origine). Le document était accompagné : Les résultats

Brent Weeks | 2. Writing Fantasy: Tools & Techniques a. World Building i. ii. b. i.How do you write a bad guy? c. d. e. a. i. A lot of writers have different takes on your question than I do. But my answer is that the story is what matters. There are more and less elegant solutions to the problem of how you set up an entire world and lay the ground rules quickly. ii. I’m not going to be able to do justice to your question about world-building in one short post here. The world-building has to occur along sort of two tracks: first, you need to set up a lot of things that you absolutely know about the world. Secondly, you’re going to have to think about just how the world works. So along that first track of thinking, you, outside of the fiction, need to make all of these decisions about how the world actually works. Third, do things differently. Fourth, now you have to put all of this into practice. Note that as you write, you may come up with things that are much more interesting than the way you’d originally crafted your world. b.

Facebook révolutionne la théorie des "six degrés de séparation" dullhunk Facebook connections map of the world Planet Facebook by Paul Butler Le développement du réseau social sur internet Facebook a conduit à réviser la théorie selon laquelle il existerait "six degrés de séparation" entre tous les individus, une étude de l'Université de Milan ayant déterminé que le site avait ramené ce chiffre à 4,74. "Le monde est encore plus petit que nous le pensions", écrivent cinq chercheurs (Lars Backstrom, Paolo Bodli, Marco Rosa, Johan Ugander, Sebastiano Vigna) dans une étude référencée par Facebook, qui y a collaboré. Selon une hypothèse formulée pour la première fois dans les années 1920, n'importe quel individu peut être relié à n'importe quel autre par une chaîne de relations individuelles de six personnes. L'étude ayant bénéficié du concours de Facebook montre quant à elle que 99,6% des utilisateurs du site peuvent se connecter avec un autre internaute, via des connaissances, en cinq étapes étapes seulement, et 92% en quatre étapes.

s Laws of Fantasy This page has three distinct parts: Watt-Evans' First Law of Fantasy: Stories are about people.Watt-Evans' Second Law of Fantasy: People are never wholly good or wholly evil, and therefore characters should never be wholly good or wholly evil.Watt-Evans' Third Law of Fantasy: The basic human motivations are universal.Watt-Evans' Fourth Law of Fantasy: Everything other than the basic human motivations will vary, depending on the cultural setting.Watt-Evans' Fifth Law of Fantasy: Magic, like everything else, has rules.Watt-Evans' Sixth Law of Fantasy: If a story can be written without a fantasy element, then don't bother with the fantasy element. Watt-Evans' Laws of Fantasy by Lawrence Watt-Evans I make my living writing, and most of what I write is fantasy. Fantasy can be a confusing genre, though; some people aren't clear on what it is, where it overlaps (or doesn't) with science fiction, and so forth. Fiction is anything that hasn't necessarily happened. What does that leave, though?

Qu'est-ce que le DSM ? Tout commence avec des études démontrant que, chez les primates, la taille des testicules est liée positivement à la probabilité de polygamie. Pour le dire autrement : plus un singe mâle dispose de conséquentes gonades, plus il est probable qu'il vive dans un système polygame. Attention : il s'agit d'une comparaison entre les espèces, et non entre les individus d'une même espèce. Voilà qui n'est toutefois pas du goût de Blu-Perou. Sans citer la source (elle s'appuie seulement sur une émission de télévision qui fait référence à ce résultat), l'auteure affirme que de telles études sont 1. inintéressantes ; 2. fausses ("qui n'a de scientifique que le nom") ; 3. immorales ("la science prise en flagrant délit de sexisme"). 1. Les chercheurs ont été intrigués par un décalage inattendu : les gorilles sont nettement plus forts et grands que les chimpanzés, mais leurs testicules sont 4 fois plus petits (voir ici par exemple). 2. 3. — pour les passionnés qui veulent en savoir plus (en anglais) —

Geography Education Faut-il instaurer un droit à mourir? François Hollande propose que "toute personne majeure en phase avancée ou terminale d'une maladie incurable [...] puisse demander, dans des conditions précises et strictes, à bénéficier d'une assistance médicalisée pour terminer sa vie dans la dignité". Mais il dit aussi qu'il n'est "pas favorable" à "l'euthanasie". On a un peu de mal à comprendre... Marisol Touraine: Nous ne parlons pas d'"euthanasie" parce que ce mot donne lieu à des interprétations très différentes. Jean Leonetti: La proposition de François Hollande est floue alors que la définition de l'euthanasie est claire: il s'agit de donner la mort à un malade qui le réclame pour abréger ses souffrances. M. J. M. Cette aide pourrait survenir en "phase avancée", dites-vous, mais celle-ci est beaucoup plus difficile à déterminer que la "phase terminale". M. J. M. J. M. J. M. Un Etat qui donne le droit de tuer, n'est-ce pas symboliquement dangereux pour la société? M. J.

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