فانتزی

Magical stories have been well received by children since long ago, in legends and fairy tales. The increasing turn of writers and readers to this literary genre indicates its importance to the general public as well as critics.

This research has tried to investigate the most important effects of myth, epic and legend in the fantasy works of Mohammadreza Yousefi with a descriptive-analytical method. Data collection in this research has been done through library activity.

In his fantasy works, Yousefi thinks about exploring the other side of experiences and tries to bring people surrounded by science and wisdom to their impossible dreams in the land of fiction by creating astonishment and wonder. In his fantasy works, which are far from reality, he tries to recreate the realities in the unreal world by resorting to the power of imagination.

The results of the research show that Yousefi was influenced in his fantasy works in choosing the names of the stories, choosing the topics and themes of the stories, choosing the names of the characters and creating characters from myths and epics.

Humor in Gogol's fantasies is not only social criticism, but the author tries to instill a kind of fear and sometimes anger and surprise in the reader with special measures. This article tries to deal with Gogol's ways or Styles to achieve this characteristic in two works, Nose and Overcoat, with a descriptive-analytical approach and with reference method, and to show that Gogol used excessiveness and exaggeration in Reality and turning to fantasy has taken it to other dimensions like grotesque. He has turned to the grotesque both in the elements of the story, in the method of its execution, and in the content. In the structure section, it has been achieved with the help of suspense, characterization, and exaggerated and rumored beginnings and endings, and in the performance method, it has chosen fantasy and postmodern approaches rather than humanizing objects and body parts. to give them an exaggerated personality and by creating an illusion in the audience, create a platform to turn to an open ending and as a result create an eerie uncertainty for the reader. It breaks the border between reality and fantasy in the audience's mind, and finally, with uncertainty, fear and anger prevail over humor. In fact, by changing the real and real texture to fantasy and also turning to scary content, in addition to a funny and surprising and unconventional act, the author has thrown a scary background in the heart of a person's awake conscience to complete his set of Grotesque Styles or ways

The current study attempts to discuss one of the most mysterious and enchanting stories of Bidel Dehlavi, his autobiography, from a Lacanian psychoanalytical perspective. The primary goal is to scrutinize the psychoanalytical evolution of the story’s main character based on three significant Lacanian stages of the unconscious: the Mirror Stage, the Symbolic Order, and the Real Order. In addition, the psychoanalytical portrayal of the main character is reflected in the light of Lacanian concepts of Fantasy, the Other, Lack, Objet petit a, and Castration. The Lacanian subject in Bidel’s story encounters a huge void. To fill this gap, he strives to identify himself with the other or the picture that his friend, Anub, has painted. The shattered subject discovers himself in the harmonious and perfect image and strains to recover his lost identity in the flawless picture. The subject is unaware that by entering the Symbolic Order, he would suffer alienation and distortion. Hence, by clinging to Fantasy, he endeavors to keep the illusion of being perfect. However, by stepping into the Real Order and facing the trauma of this stage and the impossibility of symbolizing his pains, he commits symbolic suicide and breaks the chain of recurring signifiers. The findings of the current study indicate that the main character (Bidel) passes through the Mirror Stage with an imaginary identification of himself, then faces the alienation of the Symbolic Order, and in the Real Order, as a psychotic subject, he is baffled between Fantasy and Reality and commits a symbolic suicide.

The concepts of "the real", “object a”, and "fantasy" are among the most important and, at the same time, most difficult ideas of Jacques Lacan, a famous contemporary French psychologist and philosopher who, in addition to his knowledge of psychology, plays an important role in the critique and analysis of works of art and literature. In Lacan's view, the real refers to pre-symbolic materiality, which strangely resists symbolism and disrupts the symbolic realm. Fantasy is also a subconscious function that provides a basis for expressing people's suppressed desires and aspirations. Both of these concepts can also effectively analyze the hidden messages of literary texts, especially texts, especially texts with a cryptic and symbolic structure. The long story "With Pomegranate and Bergamot from an Apple Branch" by Ghazaleh Alizadeh is one of the distinctive works dedicated to the description of different narratives of the members of an aristocratic family about an imaginary bird that appears in a different color and shape for each character, disappears from view, and then reappears, causing the formation of different dreams for these characters, including their subconscious desires. In this research, an attempt has been made to analyze the mentioned story using a descriptive-analytical method, relying on the views of Jacques Lacan. The results show that the characters’ different and conflicting perceptions of the imaginary bird are in accordance with the concept of different perceptions of the real. Also, the final dreams of the characters, which appear at the same time as the bird reappears, are basically the subconscious function of their psyche, displaying their suppressed wishes and desires.

Fantasy is a type of story that has been noticed in the literature of children and teenagers in recent years. The Possessed of Badyan Island is a teenage novel and a fantasy story written by Badri Mashhadhi. In the present research, this story has been analyzed in terms of the elements and structure of fantasy and climate literature by analytical-descriptive and library method. In this research, a new definition of the genre of fantasy has been presented under the title of climatic fantasy, and by examining the mentioned novel, it has been shown that the story of The Possessed of Badyan Island is a climatic fantasy. Also, by using the climatic fantasy genre, in addition to creating a gothic and scary story with a local atmosphere, the author not only satisfied the need for excitement of teenagers, but also directed the attention of teenagers from similar foreign to local and Iranian examples. It has also used the climate fantasy genre to familiarize the audience with the culture, history, customs, superstitions, etc. of a specific region. Therefore, this story can be considered an example of an Iranian climatic fantasy story.

Modern fantasies are the continuation of myths and folk tales being directly or indirectly influenced and inspired by the characters and elements used in these genres. Characters from another world, which seem to us impossible, stepping into the real world of the people and their behaviours, like mythological characters, seem implausible and far from our access. The characteristics and actions of fantastic characters reflect our own dreams and desires, exactly like as the ancient myths and epics which have reflected our ancestors` concerns and wishes and answered their questions.In the novel Eyeglasses for the Dragon, by mohammadhadi mohammadi the author attempts to draw the attention of the new generation to the significance of legends, epics, folk tales, etc. In this article, an attempt has been made to compare the similarities and differences between the dragon in this novel and mythological-epic dragons (particularly the ones in the Shahnameh) and consequently answer this important question: if the purpose of the fantasy is drawing the attention of the young generation to fairy tales and the element of the dragon is supposed to appear in the fairy tale, why has the dragon not been mentioned even once in the whole novel despite the presence of the two story tellers in the novel, i.e. Bibi Torang and Naneh Ejdeha?

The use of imagination in fiction narratives is the main theme of fantasy. Fantasy is an artistic type that uses magic along with supernatural tools in literary works; But over time, the human mind no longer accepts its traditional and repetitive content; For this reason, fantasy in the story has evolved to adapt to the conditions and surprise the audience, and has become a form of pristine and new imagination. Although fantasy imaginations and its lane patterns are predetermined and clear, along with the evolution of literary schools, surrealist manifestations that lead to imagination with rebellion, breakdowns, and liberation from the law of nature, and their purpose is to repeat, fresh freshness. And reference to the inner dimension and apply the subconscious; It is seen in fantasy stories. The present study,

Novel is an important branch of children's and adolescents’ literature. The events resulting from the stages of growth, physical and mental maturity, crisis of individuality, love and various conflicts of this age are some of the topics raised in adolescents’ novels. In this particular literary genre, the conflict of the adolescent character in the story is depicted with the outside world or the world inside him, which is usually associated with the process of intellectual development. Eventually, the hero of the story must find a way to cope or overcome her/his crises. The fantasy novel is one of the most suitable ways to acquaint the adolescent audience with these external and internal conflicts. The importance of fantasy for adolescents is to communicate with their subconscious. Fantasy stories, without direct expression, in a symbolic context, makes the reader delve into her/his unconscious and confront her/his fears, anxieties and failures. Many characters, places and events in the fantasy world can arise from her/his conflicted psyche or repressed desires.From this point of view, fantasy can be measured with dreams and the rules governing the interpretation and the decoding of dreams can be applied to it, something similar to the work of psychotherapists. With this method, the author can introduce the injuries and tensions deposited in the subconscious of the character of the story. Fantasy can be called the dream of the waking world.

Undoubtedly, magic and sorcery have a history as old as human history. Fantasy and its process are topics that can be explored in the literature. Iranian epics also have such dimensions. Especially since they have a close relationship with myths, legends and epics. Mandatory components in fantasy texts are magic, sorcery and sorcery. This article is an attempt to pay attention to the similarities and differences between the use of this component in the Garshaspnameh system with Faramarznameh and Banogshspnameh. To achieve the result, an attempt has been made to first provide a brief definition of fantasy, and then to examine the characteristics of Gershasp and Faramarz and Banu Gosps in these systems. Finally, by mentioning the evidence, the frequency of use of magic and the reason for the superiority of Garshaspnameh in the fantasy dimensions of magic should be compared. In comparing the frequency of use of these elements, first there are Garshaspnameh letters, then Faramarznameh letter, and finally Lady Gashsapnameh letter. Among the reasons for this superiority in the Garshaspnameh are the existence of travel and its types and the poet's mentality, as well as his closeness to the Khorasani style compared to the other two poems.

The present article is a comparative study of the causes of mutiny and morbidity in the works of two modern poets Nosrat Rahmani and Henry Charles Bukowsk in the light of Jacques Lacan's theories of three registers of Imaginary, Symbolic, and The Real. The research first explores these registers in these poets’ works and then analyzes their psychological and social motivations. One form of mutinous act in the poetry of Rahmani and Bukowsk is their persona’s explicit confession to their addiction in alcohol and drugs. Their insubordination has pushed the narrators’ to the threshold of ignominy, despair and death, yet still, none of these consequences seem enough to make them leave the world of fantasy. Jouissance, or pleasure associated with pain and guilt, pushes them towards death. The study concludes that the source of these issues is the repressed feelings that arise as a result of the subject's confrontation with the Big Other. The personas have been caught up in a symbolic cycle, and in order to bring it to an end, they have no choice but mutiny and morbidity. By entering into the Real order and recognizing the lack, they become traumatized and endeavor to retreat to the Imaginary realm of the mother to soothe their pains.

  Myth is one of the original sources of children's stories. Every child's imagination contains all the experiences that human beings have had in their history. The scope of this reflection is especially evident in the fantasy genre. Fantasy also has an essential affinity with myth. The direction of both implies something beyond reality. Myth should be considered as a Minoan story, the origin of which is usually unknown, and is a description of a natural action, belief, institution, or phenomenon that is inextricably linked to religious mirrors and beliefs. In children's stories, elements of myth and fantasy are widely used. 

The present study aims to investigate the connection between the fantasy stories of children and adolescents with myths in a descriptive-analytical way by studying the fantasy stories of the eighties. In our opinion, these aspects are the origin of fantasy stories. The aspects studied in this article are: plant-human characteristics, mythical characters such as giants and fairies, magic, the archetype of the hero's journey and sculpting, and animism. The stories studied in this research have been selected from the authors of the field of children and adolescent literature. DiscussionUsing mythical elements is not a goal for a fantasy writer, it is a very effective tool. With these elements, he can create a new world full of surprises for the audience. Because the child is a myth and the subconscious layers of his mind are still connected to the mythical world and its connections; So he will enjoy the story the most.The story of 6,000-year-old Green Man by Fariba Kalhor is based on the ideas of plant-human myths. This story is a description of a green human life that is six millennia old. He has been the companion of many people and scientists. Even the title of the eleventh chapter of the book is human-plant. The six-thousand-year-old green man, like the legend of Gil the Lost, seeks the mystery of immortality.Another story in which human-plant features are evident is the famous pea story of Qasemonia. This story is rooted in the Persian myth of the plant growing from tears. In chickpea stories, which have been rewritten based on ancient stories, we encounter the birth of a plant from human eyes.The story of the grove fairy by Hossein Fattahi uses mythical characters such as the fairy. In creating the unreal characters of the story, in addition to the capacities of those characters, the author has also paid attention to their mythological aspects, such as pigeons and crows. The important point is that the author pays attention to the ecology of the southern region. The author has chosen the characters of his story from the birds and plants of the same area. The grove fairy, who is one of the most important characters in the story, is originally a palm tree.   Animals are often used in children's stories; As we saw in this story or in the story of autumn on the train, written by Mohammad Kazem Mazinani, part of the story is based on the relationship of the child's character with animals.     The magic object expresses one of the most important human needs. Many fantasy stories are based on the pattern of the magical object, and we will confine ourselves to the story of the three magical whistles. In this story, too, the child character of the story takes refuge in a magical whistle in the face of danger and insecurity.The fantasy world is also a world of wonders. Some of these creations are in the form of animal-shaped sculptures in fantasy stories. The two stories of the boy who became a crow by Mohammad Kazem Mazinani and the wolves do not cry are written by Mohammad Reza Yousefi based on metamorphosis. Rebellion against oneself and against one's false traits can be the basis for writing a beautiful educational story. To do this, the author has resorted to symbolism, the wolf is a symbol of the ugly and predatory aspect of man.A large part of the texts produced for children and adolescents deal with the issue of animism in different forms, which, in addition to representing the mythical mentality of their creators and their audiences, in addition to poems, poems, anecdotes and poems. Are also important from an aesthetic point of view. The animation of objects is very evident in the story of autumn on the train. 

Mythology is the source of inspiration for children's stories. Because every child in his imagination provides the seeds of all the experiences that human beings have gone through in their history. The child discovers fire like a primitive human. There is no way that the early man walked and the child did not walk in his childhood world and his games. The subconscious layers of the child's mind are still connected to the mythical world and its connections, and therefore the poet and writer of children and adolescents in the moment of composing poetry for them, especially poetry in which the dominance of consciousness is less, inevitably Myths take refuge in their mentality and communicate with that audience through that part of their mind.   Many aspects of mythic insight are influential in children's stories, especially children's fantasy stories. But in the meantime, mythical characters, the re-creation of mythical stories, the archetype of the hero's journey, and animism have an undeniable effect. Applying myth to a fantasy writer is not a goal but a very effective tool. Using mythological elements, he can create a new world full of surprises for the audience. It can be said that any story that has benefited the most from the myth has been more welcomed by children and teenagers.    The space that pervades fantasy stories is highly dependent on mythological elements, especially animism and discernment. Diagnosis in fantasy stories is not cross-sectional; It can be seen throughout the text of the story. As it turns the story into a whole. The use of these recognitions has helped a lot in instilling a special fantasy space that is an expression of wonder.

Fantasy is the most imaginative genre of story. In the imaginative stories, the writers create a secondary world with new rules by passing beyond real world and breaching the cumbersome rules and frameworks. These worlds include amazing events and fantastic creatures. Samad Behrangi is one of the writers of child and adolescent literature that he connects the adulthood world to childhood world by using fantasy. By emphasis on this style, he expresses the social, cultural and ideological issues for novice readers in tangible way. In this regard, cognitive metaphors play an important role in better perception of some complicated and abstract concepts by children. This article has tried to examine fantasy and cognitive metaphors used in fantastic stories of Samad Behranghi in order to depict how this author, thoughtful and interested in the children and adolescent training, has analyzed the bio-social experiences for less experienced child and adolescent readers using cognitive metaphors. This descriptive and deductive content analytical research showed that the conceptual metaphors in Behranghi's stories imply collectivism and appropriation with socialism beliefs and conditions. Concerning the contextual metaphors, three volumetric, motor and power schemas were mentioned and power schema is related to thinking and eliminating obstacles by Behranghi in the considered goals in the story. The structural metaphors are in the first rank in his stories. The frequency of directional metaphors is the same in the fantasy and real stories

The present study examines Shakespeare’s King Lear according to the Lacanian Psychoanalysis specifically in the light of the Lacan’s four discourses concept. The main question concerns the madness of King Lear and the subsequent turmoil ravaging society after the dominant stability and order in the beginning. The study shows that when King Lear as the master signifier and the locus of identification for the barred subjects, is removed from the discourse, the truth of discourse is going to be revealed, the veil of fantasy is torn apart, and the king and society find themselves in madness. The researchers first present a lengthy introduction mainly discussing the history of psychoanalytic criticism and showing how dramatically it is changed after the radical psychoanalytic innovations made by Jacques Lacan. The next part is totally allocated to explaining the theory of the discourse of master and its constituent components such as the master signifier, the other, the object petit a and the truth.

Folk tales , It is full of adventures that have a proper narrative and story structure and Most of the dramatic elements are also suitable for converting to film and animation.In this study, using content analysis method, the narrative elements contained in folk tales and selected text means “Mashdi Galin Khanom” are shown.There are certain types of characters in these stories and Elements such as : conflict, parley, crisis, knot, suspension and imagery, Conflict, Conversation, The crisis, Knotty, Suspension and fantasy spaces, in these tales have an important effect and provides a good context for the adaptation of the script; In addition, it has been discussed in a magic and fantasy theme and its value for dynamic visualization; We find that fantasy elements are abundant in these stories that make the screenwriter better use of this particular kind.It is possible to communicate between animation and Iranian culture by adapting these stories filled with ancient Iranian culture

Regarding realism as a non-significant and marginal movement of contemporary literature, the authors tried to modify it. Coined and introduced by Rudy Rucker, transrealism is a postmodern movement that consists of fantasy and science-fiction elements as well as realistic features, not to mention that the realism which is used in transrealism is not the sheer one. Time travel, new inventions, alternative worlds, aliens and supernatural elements can be observed in transrealistic works. Satire is another pivotal element of transrealism alongside the aforementioned features. It is employed in order to criticize society and mankind’s follies. Metafiction is considered as a method of narrative in postmodern stories which is also observed in transrealistic works. In metafiction the narrator tries to indicate that the story is artificial. Kurt Vonnegut’s apocalyptic novel, Cat’s Cradle, can be regarded as a transrealistic literary work. It indicates elements of science-fiction, fantasy, as well as satire, and employs them as tools for repressing inhuman deeds. Employing science-fictional, fantasy and apocalyptic literature features, the transrealist author provides a nonrealistic atmosphere. Synchronically, it represents realism. This dichotomy generates an ambiguity and a suspension on the border between the nonrealistic and realistic world. This paper intends to examine the features of transrealism and its objectives in Kurt Vonnegut’s Cat’s Cradle. Besides, it attempts to demonstrate the diversity and complexity of the contemporary narratology by highlighting the narrative features of the very novel.

Canned Giant written by Mehdi Rajabi is a fantasy on two levels of real and unreal. In the real world, the young adult experiences freedom from dominant direct education living a life away from grown up expectations while facing great challenges. In the unreal, he goes to the world of the magician and the giant and the dream signifying one's movement from consciousness to the unconscious. This voyage leads to joining of inner and outer conflicts and finally maturity. In this study, focusing on Jung's views on individuation as well as Campbell's hero's journey analyzes this novel. It is argued that in contrast to supernatural myths of voyage, the hero is entangled with real crises of childhood and adolescence in unreal worlds and by recognizing conflicts and fears, he separates himself to reach the real world. The ending of such stories leads to individuation of the hero through gaining real experiences.

Fantasy is a literary genre that has been created in the last century in response to rationalism, in which events, characters, and situations are made beyond our beliefs. Fantasies give their readers the possibility of analogy between different worlds. This aspect of fantasy has received warm response from young adults. In the present study, archetypal criticism is used to compare J. K. Rowling's Harry Potter and Ali Khaste's Fighters of Parle Aan in order to see whether the mythical and magical concepts in these works have strengthened the structure of the story and if Fighters of Parle Aan  can be considered a successful fantasy  in comparison with Harry Potter. It is argued  that the mythical narration with the help of other element of the plots has been helpful in the structure of these stories. Fighters of Parle Aan can be considered as a successful Iranian fantasy.

Fantasy has various types including fairy-tales, allegorical, realistic, philosophical and Grotesque and so on. Fantasies have been classified from one perspective into general and modern and from another to worldly and supernatural. It can be said that what discriminates different types of fantasies from one another is the kind of imagination used in them. But what they have in common is the creation of an imaginative and fictional world. The creation of this imaginative and fictional world is done through the techniques that are not fixed and well-known in all fantasy works but can be understood through various studies. In this research, by studying four fictions of Mohammad Reza Shams, the authors have identified eleven techniques for creating fantasy, some of which are novel in comparison to previous studies like choosing the narrator and the pseudo-insane hero, anachronism, objectivization of allegories, curses, and prayers, using the archetypes and magical characters of ancient fictions, establishing a story based on proverbs and popular culture, and bringing back a decedent to life. Also, various types of fantasy, such as realistic, philosophical, fairy-like, allegorical, Grotesque and fantasy of objects can be found in Shams's stories.