Outline the information about “romantasy” literature.

Compare characteristics of “romantasy” literature with features of William Shakespeare’s play A Midsummer Night’s Dream.

Choose one of the following tasks:

or

inhaltliche Aspekte:

• romantasy combines features of fantasy with features of romance

• origin of term unknown, but now widely used online

• popularity has grown strongly through social media

• plots often include big challenges and dramatic conflicts

• many stories also contain erotic sequences

• female protagonists usually shown as active and independent

• relationships often presented as balanced partnerships

• increasing focus on diverse characters and perspectives

• stories help readers to cope with difficult times

mögliche inhaltliche Aspekte:

similarities

• blend of fantasy and romance (e.g. romantasy: “typically set in fantastical worlds, with fairies, dragons, magic, but also feature classic romance plotlines,” ll. 25f.; fairies, magic potions, enchanted forests combined with romantic entanglements in A Midsummer Night´s Dream)

• romantic tropes (e.g. romantasy: “also feature classic romance plotlines – enemies-to-lovers, soulmates, love triangles,” l. 26; multiple love triangles and mistaken identities [Hermia, Helena, Demetrius, Lysander] in MND)

• escapism/distraction (e.g. romantasy: “When you look at on the global scale what’s going on socially, politically, economically, Covid – all of these things are giving readers this need to escape,” ll. 64-66; the play transports audiences to magical worlds in contrast to their everyday lives in MND)

• unexpected turns in matters of love (e.g. romantasy: “‘he murdered your whole family, but now you’re going to fall in love,’” ll. 33f.; love manipulated by magic potion in MND)

• optimism (e.g. romantasy: “offer readers a sense of hope,” l. 71; comedy has a happy ending in MND)

differences

• content (serious issues in romantasy: “the romance can have these world-ending stakes,” l. 32, vs. comedic/lighter treatment of confusion in MND)

• sexuality (explicit intimacy in romantasy: “Romantasy novels often have explicit sex scenes,” l. 36, vs. implicit intimacy in MND)

• role of female characters (e.g. emancipated female characters in romantasy: “The genre’s appeal may also be down to its ‘bold heroines’ and ‘strong yet nuanced female characters,’” ll. 44f., vs. women often restricted by patriarchal structures [e.g. Egeus choosing Hermia’s husband], though they display wit and agency within limits [Helena, Hermia, Titania] in MND)

• social variety (e.g. inclusivity in romantasy: “we’re seeing fantasy normalise queer romance, normalise having people of colour,” l. 53, vs. no explicit consideration for diversity, all roles played by male actors in MND)

• target audience (e.g. predominantly women reading romantasy: “These stories have attracted huge numbers of female readers who may previously not have felt particularly welcome or catered for in the fantasy market,” ll. 45-47, vs. stage play for a usually male-dominated audience in MND)

• usage of magic (e.g. magic only a part of an alternate reality in romantasy vs. magic as comic catalyst for confusion and resolution in MND)

mögliche inhaltliche Aspekte:

explanation of the statement: one uses narratives not to avoid real life, but to help make sense of it

aspects supporting the statement

stories/literary works can

• help deal with personal desires and societal conflicts (e.g. romantasy novels help readers explore their inner struggles and darker desires in a safe space; the magical forest setting in A Midsummer Night’s Dream acts as a mirror to society where hidden desires, power struggles, and inequalities come to the surface)

• instil optimism (e.g. romantasy novels offer a hopeful perspective in challenging times)

• reveal moral dilemmas in a way that sharpens ethical judgment (e.g. love triangle between Hermia, Helena, Demetrius, and Lysander in MND reflects real struggles in relationships)

• foster empathy by making people see different points of view and diversity (e.g. romantasy novels normalise non-traditional gender roles and ethnic diversity; Helena’s unrequited love for Demetrius and Hermia’s defiance in MND)

• guide personal growth through characters’ journeys and decisions (e.g. romantasy novels provide strong female role models; Hermia develops resilience by defying her father in MND)

• illuminate hidden patterns in society, culture, or the mind (e.g. Athenian law gives Egeus control over Hermia’s marriage, Hermia is forced to marry Demetrius or become a nun in MND)

• create analogies that help understand inner struggles (e.g. the craftsmen’s performance echoes the earlier romantic chaos in the forest and Hermia, Lysander, Helena, and Demetrius can laugh about themselves in MND)

aspects opposing the statement

stories/literary works can

• provide entertainment and enable relaxing breaks that help avoid confronting actual issues (e.g. romantasy novels offer the chance to escape from harsh realities; immersing in the magical setting of the enchanted forest in MND lets the audience avoid facing own problems)

• promote idealised scenarios that foster unrealistic expectations (e.g. fantastical elements in romantasy novels allow simple solutions; love conflicts can be solved with magic in MND)

• trivialise real world problems and hinder serious reflection, e.g. romantasy novels feature absurd plotlines (e.g. loving your family’s murderer); the final wedding scene in MND restores order and harmony too easily

• blur distinctions between fantasy and reality, making it hard for readers to separate fiction from real life, e.g. Puck’s epilogue in MND invites the audience to treat the play itself as both dream and reality

mögliche inhaltliche Aspekte:

works of culture can shape gender expectations in terms of

• affecting socialisation and everyday interaction by showing what is (in-)acceptable or (un-)desirable behaviour (e.g. attitude of fictitious characters towards working moms)

• reinforcing or questioning recurring character stereotypes (e.g. the damsel in distress who needs help)

• having an emotional impact and evoking empathy, identification or non-acceptance on a subconscious level (e.g. crying with a devastated character / vicarious thrill)

• leading especially young audiences to model their appearance or behaviour after admired figures or to reject them

• determining the visibility or exclusion of certain identities and perspectives on gender

• (de-)constructing gender narratives rooted in historical traditions

• reinforcing or questioning dominant power structures by presenting traditional gender hierarchies

BUT

there are other influences on gender expectations

• laws and institutions can regulate gender norms

• (school) education can influence perceptions of gender

• religion and beliefs can define and reinforce gender boundaries

• family and social contacts can serve as role models

• alternative voices outside the mainstream and media plurality can foster critical awareness and offer different perspectives