LEADER 03745nam 22005655 450 001 9910965414303321 005 20191022022751.0 010 $a9780226540436 010 $a022654043X 024 7 $a10.7208/9780226540436 035 $a(CKB)4340000000256008 035 $a(StDuBDS)EDZ0001853177 035 $a(MiAaPQ)EBC5049328 035 $a(DE-B1597)524303 035 $a(OCoLC)1029252279 035 $a(DE-B1597)9780226540436 035 $a(Perlego)1852451 035 $a(EXLCZ)994340000000256008 100 $a20191022d2018 fg 101 0 $aeng 135 $aur||||||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 14$aThe Danger of Romance $eTruth, Fantasy, and Arthurian Fictions /$fKaren Sullivan 210 1$aChicago : $cUniversity of Chicago Press, $d[2018] 210 4$dİ2018 215 $a1 online resource 300 $aPreviously issued in print: 2018. 311 08$a9780226540269 311 08$a022654026X 311 08$a9780226540122 311 08$a022654012X 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tIntroduction -- $t1. Romance and Its Reception -- $t2. Merlin: Magic, Miracles, and Marvels -- $t3. King Arthur: History and Fiction -- $t4. Lancelot of the Lake: The Reality of the Ideal -- $t5. The Quest of the Holy Grail: The Sacredness of the Secular -- $t6. Truth and the Imagination: From Romance to Children's Fantasy -- $tSelected Bibliography -- $tIndex 330 $aThe curious paradox of romance is that, throughout its history, this genre has been dismissed as trivial and unintellectual, yet people have never ceased to flock to it with enthusiasm and even fervor. In contemporary contexts, we devour popular romance and fantasy novels like The Lord of the Rings, Harry Potter, and Game of Thrones, reference them in conversations, and create online communities to expound, passionately and intelligently, upon their characters and worlds. But romance is "unrealistic," critics say, doing readers a disservice by not accurately representing human experiences. It is considered by some to be a distraction from real literature, a distraction from real life, and little more. Yet is it possible that romance is expressing a truth-and a truth unrecognized by realist genres? The Arthurian literature of the Middle Ages, Karen Sullivan argues, consistently ventriloquizes in its pages the criticisms that were being made of romance at the time, and implicitly defends itself against those criticisms. The Danger of Romance shows that the conviction that ordinary reality is the only reality is itself an assumption, and one that can blind those who hold it to the extraordinary phenomena that exist around them. It demonstrates that that which is rare, ephemeral, and inexplicable is no less real than that which is commonplace, long-lasting, and easily accounted for. If romance continues to appeal to audiences today, whether in its Arthurian prototype or in its more recent incarnations, it is because it confirms the perception-or even the hope-of a beauty and truth in the world that realist genres deny. 606 $aArthurian romances$xHistory and criticism 606 $aFrench literature$yTo 1500$xHistory and criticism 606 $aArthurian romances$xAppreciation 615 0$aArthurian romances$xHistory and criticism. 615 0$aFrench literature$xHistory and criticism. 615 0$aArthurian romances$xAppreciation. 676 $a809/.93351 700 $aSullivan$b Karen, $01145516 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910965414303321 996 $aThe Danger of Romance$94362966 997 $aUNINA