Abstract
As will have become clear throughout the preceding chapters, the definition of the fantastic that I am proposing is clearly pragmatic, as it fundamentally depends on the effect that the fantastic fiction inspires in its receiver, beyond any thematic, structural, formal or even stylistic concerns.
At the edges of things we do not fully comprehend we invent fantastic tales to suggest hypotheses or to share the vertigo of our bafflement with others.
Adolfo Bioy Casares
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Notes
- 1.
Nancy B. Traill’s approach is very different: departing from the theory of possible worlds, she describes the fantastic as a “universal aesthetic category” that is manifested through any type of artistic expression: “It may be a play, short story, novel, ballad; we may find it in the form of a painting or a statue, or perhaps a symphony or an opera” (1996: 7).
- 2.
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Roas, D. (2018). Conclusions. In: Behind the Frontiers of the Real. Palgrave Pivot, Cham. https://doi.org/10.1007/978-3-319-73733-1_7
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