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

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The corpus 
For reasons mentioned above, we will demonstrate the current developments at the 
intersection of British children’s literature and fantasy in
the light of one particular genre. 
Amongst poetry, drama and epic it is the latter which suggests itself as the focal point of the 
present study. Not only the market, but also the private sphere of children is dominated by the 

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epic narration, whereas plays and poems are less widely read.
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Above all, quantitatively, 
neither a juxtaposition nor a close connection of fantasy and poetry or drama yield as much 
material as that of epic narration.
Short stories are neither long nor complex enough for our purpose.
In its quality as the 
most common form, the novel is an ideal object for analysis. Firstly, this genre enjoys great 
popularity among children, mirrored by its wide circulation. Secondly, novels for children 
range from a basic level of complexity to very elaborate ones, which have multiple 
perspectives or entwined plots. In most cases novels for children make an effort to be suitable 
for less experienced readers by adapting word and sentence length, choice of vocabulary etc.
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Thus their length remains either manageable or is distributed over several volumes.
The corpus of this work is designed in such a way that it encompasses selected topical 
British fantasy novels for children, on the basis of which the current developments at the 
intersection of children’s literature and fantasy shall be traced. Ranging in complexity 
between Pullman’s very short Lyra’s Oxford (49 pages), Almond’s compact Skellig (170 
pages) to Rowling’s Harry Potter and the Order of the Phoenix (766 pages), these texts thus 
allow analyses on a large scale. Besides offering a fixed text – in contrast to hypertexts or 
computer games for example – these novels have a complex setting, plot and, in some cases, a 
large number of characters. In addition, several texts are even illustrated with pictures or 
drawings. Current fantasy novels for children allow the detailed portrayal of setting, 
characters and conflicts. With the novel as a popular and the most widespread variety we can 
be sure of finding various general conventions and trends, which a smaller basis for analysis, 
i.e. a different genre, would not produce to this extent.
By examining the development, the various forms and characteristic features of British 
fantasy for children we expect to reveal valuable information about its current state. The 
spectrum of the corpus, a cross-section of contemporary British children’s fantasy, is not 
intended as a bibliography of fantasy novels for children. Rather, the interest lies with the 
general perspective, characteristics and currents of a corpus limited to British fantasy novels 
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As already mentioned, I consciously fade out other forms of children’s literature such as comics, picture 
books, multimedia forms such as computer games, role playing games, fan fiction, audio books or film 
paraphernalia.
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Whether, and if so, in how far this statement can be applied to fantasy novels for children remains yet to be 
seen.

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for children published between 1990 and 2007.
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This period has been chosen on account of 
the inner developments and innovations. During this time span, fantasy novels for children 
experience a new heyday. Despite many an innovation, these texts also recall traditional 
values, fusing old and new alike. A fruitful combination of nostalgic and technocratic 
elements brings about an exceptional tension.
Altogether, one can observe that the novels of the mentioned period contrast with their 
precursors in several points. For one, they are complemented by a greater share of 
humanitarian concerns. In some cases, those matters even reach a global scale as the welfare 
of an entire world is at stake. Furthermore, the trend is towards well-defined heroes. Whereas, 
on average, previous characters were either strong on their own or acted as a more or less 
homogenous group, the modern characters are increasingly portrayed as strong individuals. 
Yet, it is within a heterogeneous group that they develop their greatest powers. Spiced with a 
pinch of irony and social criticism, texts of the period between 1990 and 2007 are very 
generous with philosophical implications.
So some of the raised prominent differences between novels of the selected period and 
their precursors are already discernible and mark the forming of a new era. Nevertheless, 
some temporal distance is required for passing more aloof judgement. For this reason, it 
remains to be seen whether the years between 1990 and 2007 will eventually crystallise from 
literary history as an established, characteristic
stage in its
own right and designation. Any 
developments in this direction should be followed closely. In any case, the necessary potential 
is there.
The study’s limitation to British novels stems from their historically justified 
dominance in influential texts, especially children’s classics, as well as their unfailing 
presence on today’s international market. Despite a heightened activity and creativity on the 
European mainland, in Germany
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for example, it is the British contribution to fantasy novels 
for children which provides the biggest share. For one, this is due to its numerical superiority, 
supported by translations into other European languages, but also for its inventiveness. 
Moreover, the omnipresence of British fantasy for children and the resulting trendsetting 
function also falls back on its quality. The novels which have been accepted into in our 
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This period has been chosen because it covers important political and social changes and challenges such as 
the reunification of Germany, the dissolution of the Soviet Union, The Gulf Wars, the war in former 
Yugoslavia, and 11
th
of September 2001, which all influence current British fantasy literature for children. 
2007, the publication year of the seventh Harry Potter novel, marks the end of this selected period. 
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Amongst important authors here range Ende, Funke, Isau or Hohlbein.

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corpus
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have been selected on the basis of the following criteria. Firstly, without exception, 
these texts possess their very own, characteristic kind of magic and its mechanisms. The 
majority of them introduce their specific fantastic world, replete with its own laws, realities 
and potential. Secondly, due to the popular widespread phenomenon of serialisation, the 
sequels can pick up the thread of a once created fantasy world. Like this, large-scale entire 
canopies of fantasy worlds are possible without having to squeeze everything in one volume. 
The advantage for both author and reader consists of the familiarity, as once the template has 
been presented, the sequels can concentrate fully on the plot. Thirdly, the selected novels 
distinguish themselves through their innovations. These can lie within the sphere of the 
macrostructure of the secondary world, but also in its microstructure, i.e. magical features, 
creatures, constellations, narrative techniques or plot. Another criterion is the diversity of the 
selected novels. On choosing the novels of the corpus attention was paid to cover a
broad 
spectrum. On the one hand, it comprises the most important and influential forms of British 
fantasy novels for children. On the other hand, it also encompasses a wide choice of authors 
with their respective styles and convictions. Mirroring the numerical ratio of the field, the 
majority of the corpus authors are English, whereas the Irish authors Brennan, Colfer, 
Konlon-McKenna and Thompson, Canadian-Scottish author Foreman and the Wales-dwelling 
author Nimmo represent their respective country. What is more, the majority of the novels 
explicitly deal with philosophical, anthroposophical und ethical issues. For this reason, their 
topicality and profoundness constitute a further criterion.
A large number of the corpus novels already captivate with their exterior. Very 
elaborate, attractively designed book covers become works of art just by themselves. Of
course, in the first place their task is to fascinate the potential reader on first contact. The 
selected period from 1990-2007 sets itself apart from its precursors
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by producing 
increasingly polished as well as technically and optically demanding book covers. It is no 
exaggeration to say that the covers become works of art and thus suggest themselves as an 
object for study in their own right. Another commonality shared by the chosen texts is their 
high sales figures. Novels like Harry Potter, Artemis Fowl or His Dark Materials are 
bestsellers. This permits us to draw conclusions from their wide reception. Style, form, but 
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For the respective titles of novels used and further bibliographical data please refer to the list of primary works 
in the bibliography.
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precious Victorian books/editions etc. excepted. 

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also themes appear to exactly mirror the taste and topicality, without which these novels 
would not reach such heights.
Not just external, but also textual factors are shared by the corpus texts. Even though 
these novels are almost all marketed as children’s books,
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they increasingly appeal to adults. 
The specific feature of these novels is rooted in their “fantastic” way of depicting the 
dichotomy between child and adult. In the process, the topic of maturation is given special 
emphasis. Couched in the fantastic background, the problems and conflicts arising from 
socialisation and learning are treated. Since growing up is tied to a quest and thus revalued as 
a prestigious fantastic adventure, the “horrors” of maturation are defused. Thus, the reader 
gets more readily involved. 
Based on this quite large pool of novels found at the intersection of British children’s 
literature and fantasy, we are going to carry out a kind of spot check for the purpose of our 
survey. To this end, the field will be scanned for expressive works, which do not only have 
formative influence on others but which are also distinctive of the present time and full of 
character. 
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With the exception of Harry Potter and Northern Lights. The first can be obtained in two editions, one 
adorned with a colourful cover for children, and the other with a sober cover for adults, whilst the text itself 
remains unchanged. In America, by contrast, Northern Lights is called The Golden Compass and is sold as a 
book for adults.

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