Microsoft Word final-current Developments at the Intersection of British Children-online-version doc

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Summary and evaluation of research results 
An aim of the present study is to compile a topographical cross-section of the current 
landscape of British fantasy literature for children. On the basis of corpus novels chosen on 
account of their large spectrum of characteristics selected aspects have been examined. Those 
reveal traditional as well as modern elements in the development of the genre. Aspect-related 
analyses and comparisons of the corpus novels’ composition with distinctive precursors on 
the one hand and among themselves on the other hand have illustrated a dynamic process of 
progress. The latter becomes apparent in the shift of emphasis in focal points.
Whereas the traditional elements of magic, evil, violence and humour, integral parts of 
all fantasy novels, remain stable in their characteristics, their individual interpretation can 
vary. As we have seen, changes in society influence the form those traditional elements can 
take. With changes in political systems and social attitudes, the parameters of evil and 
violence shift, whilst technical progress first and foremost finds expression in the field of 
magic. Whilst at the time of industrialisation the substitution of man by machines was an 
issue, today the potential, but also the danger of the relation between man and artificial 
intelligence is given special emphasis. Strange as it may seem at first, current British fantasy 
novels for children succeed in bringing together magic and technological progress
1
without 
breaking the spell of the enchantment.
On the basis of the selected aspects of primary and secondary worlds, the modern 
quest and the modern child hero and his milieu, we have examined modern structures in 
current British fantasy novels for children. It could be demonstrated that two contrasting 
movements, individualisation and globalisation, influence the above aspects decisively. As 
the analysis of our corpus novels with regard to these issues has shown, the genre endeavours 
to balance them out by portraying individual heroes on a simultaneous inner and outer quest 
to save the entire world. In the tradition of Carroll’s Alice, modern fantasy heroes still share a 
significant feature: Instead of actively aspiring to become a hero and having a proper sense of 
mission, they start out as nondescript children. Thus taken by surprise when accidentally 
becoming involved in the fantasy adventure, a large number of them initially refuse to take on 
the responsibility as a hero. Feeling far from special, these child heroes voice their doubts 
1
For laymen, many technical devices like virtual keyboards are literally magical. The intellectual as well as 
technological contest between Foaly and Artemis Fowl, spread over the entire series, illustrates the fascination 
of magical technology.

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about their fate before they eventually accept their new role and grow with their task. The 
examination of the genre’s modern structures – above all the hero and his or her quest - 
permits an insight into the spirit of the time, since the selected aspects reflect society’s 
guiding principles, demands and expectations, but also its fears and concerns.
The modern structures are closely linked to the third thematic section of this study, the 
formal innovations of the genre. Here, we have inquired into the definition, the existence and 
the possible form of a canon of British fantasy novels for children. In this connection the 
aspects of allalderslitteratur, single versus dual address and crossover literature were 
analysed. It could be found that, as with other study-related definitions before, the borders 
between these kinds of reader address are blurred and resist binding, clear-cut definitions. 
Yet, considering the current development, fuzziness challenges traditional forms on its way to 
establishing itself as a new form in its own right. Against this background of an impending 
topographical as well as social disorientation, fantasy heroes are endowed with individual 
traits intended to withstand the surge. Social criticism has always been an issue in literature 
for children. Yet, it was addressed mainly to the parents, with some direct appeals to the 
children with respect to injustices, manners and morals. Novels like The Water-Babies are 
critical but too theoretical. As we could demonstrate, current British fantasy novels for 
children grant their readers, be they beginners or more experienced, their own authority. In 
this respect, children have become emancipated and are now actively involved in as well as 
called to account for responsibility towards other people. What is more, social criticism has 
been enlarged by another aspect: The responsibility for the environment, i.e. the planet. With 
the increasing importance given to ecology, current British fantasy novels for children 
implement Tolkien’s concept of preservation instead of exploitation, i.e. of circumspection 
instead of thoughtlessness. Further aspects of formal innovations are the morals, values and 
messages conveyed by the fantasy novels. In times of upheaval and instability such as these, 
shaken by economical and financial crises, political anxiety and the threat of global terror, 
hard-core issues are being recalled. Therefore, traditional values such as respect, love and 
faith are focussed upon. In this connection we observed an increasing occupation with and 
interest in theology and ethics. A large number of corpus novels work with biblical themes 
and figures. While the antagonistic constellation of good and evil looks back on a long 
tradition in literature for children, other issues periodically, as the need arises, become of 
current interest. This, for instance, holds true for the appearance and role of angels, death and 
a possible afterlife. Other aspects of interest are the meaning of life, sin and atonement, 
forgiveness and belief in one’s own capabilities.

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The subject of the modern hero interlocks modern structures and formal innovations, 
since his doubts and even refusal as far as his responsibility and quest are concerned are 
governed by his education and creed. By passing on a certain message through his deeds, the 
hero sets an example for expected good social behaviour, i.e. the morals and values he stands 
for are influenced by society. No matter how strong their resentments are at first, all fantasy 
heroes eventually take on their fate. In order to gain credibility, a hero needs support in the 
form of helpers who allow him to delegate tasks and skills.
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Self-assurance and the belief in 
values lead to a happy ending which shows how important perseveration can be for oneself as 
well as society. Joy and pride in view of the achievement are the reward for not having given 
up. With the world(s) and their inhabitants saved and things set right, the hero returns home 
from his journey there and back again. The novels’ message could not be any clearer: No 
matter how humble your background, as long as you believe in yourself and the 
meaningfulness of your quest, anything is possible. With the help of a new spirituality hope 
for the future is thus given in a rather bleak present, be it in fantasy or reality. 
Since the aim of this study is to give a cross-sectional overview of the current 
developments in the genre, its scope is defined by this approach. Many aspects are broached 
which require further, in-depth examination and discussion elsewhere, as each of the above-
mentioned aspects examined here provides enough material for studies in its own right. With 
regard to current developments at the intersection of British children’s literature and fantasy 
the corpus novels were chosen, presented and analysed, and their commonalities, differences 
and special features worked out. On the basis of the observations we could then conclude that, 
independent of the respective form of fantasy, there exist global traits which reflect 
contemporary social, political and ecological influences that we integrated and presented in 
the proposed theses. Time and again we encountered the same characteristic: The trend goes 
towards a dissolving of borders as we know them. This feature poses a challenge for anyone 
trying to define current terms and phenomena, since working definitions, parameters as well 
as the subject of the study elude set standards. Already at the outset we had to determine the 
working definitions with the proviso that they may alter in the course of the study. The 
questions were of a rather problematic nature: Where to set limits? What is the course of 
2
In current British fantasy novels for children, superheroes are disapproved-of and, as a result, rare. Being 
overly competent, strong, popular, powerful etc. is highly unrealistic, even in a genre which is based on magic 
and its potential. Human traits are in demand which permit an identification of the reader with the hero and the 
sharing of a similar situation, namely maturation and socialisation.

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action if limits cannot be bindingly established due to fuzziness? Is it therefore not only 
inappropriate but also impossible to set fixed limits? Shouldn’t one accept the blurring of 
forms and contents and adapt norms and expectations accordingly to this new situation of 
openness and the invalidation of clear-cut definitions on the tide of change? In this phase of 
transition between old and new the provisional nature of things does not necessarily imply a 
loss of clarity. It can also mean a reshaping of the genre with new potential.
For our study of current developments at the intersection of British children’s 
literature and fantasy this means that the areas of children’s fantasy novels on the one hand 
and adult fantasy novels on the other hand can and should no longer be treated as fixtures. 
Instead it has to be acknowledged that borders have become permeable. The permeability is 
bi-lateral, permitting adults to extend their youth and children to partake in “serious” matters. 
As a result, the intersection between children and adults enlarges, thus offering more 
commonalities as far as form and content, but also where interests, possibilities, 
responsibilities, hopes and fears are concerned.