Atheism and Theism in Contemporary Fantasy Fiction

Table Of Contents

• Cover
• Title
• Copyright
• About the author
• About the book
• This eBook can be cited
• Acknowledgements
• Table of Contents
• Stylistic Notes
• 1 Introduction
• 1.1 The Rise of New Atheism
• 1.2 Reactions and Development
• 1.3 The Resurgence of Fantasy in Popular Culture
• 1.4 Definitions and Terminology
• 1.5 Literature
• 1.5.1 Left Behind (1995–2007) by Jerry B. Jenkins and Tim LaHaye
• 1.5.2 His Dark Materials (1995–2000) by Philip Pullman
• 1.5.3 Twilight (2005–2008) by Stephenie Meyer
• 1.5.4 The Hitchhiker’s Guide to the Galaxy by Douglas Adams (1979–1992)
• 1.5.5 Secondary Literature Considerations
• 1.6 Analysis and Structure
• 2 “Within this Wooden O” – Terminology and Definitions
• 2.1 Atheism and Theism
• 2.1.1 Philosophical Definitions
• 2.1.1.1 Theism
• 2.1.1.2 Atheism
• 2.1.1.3 Theism and Religion
• 2.1.1.4 Atheism and Science
• 2.1.2 Theist and Atheist Reasoning
• 2.1.3 Literary Implications
• 2.2 Fantasy
• 2.2.1 Conceptualisations of Fantasy and the Fantastic
• 2.2.2 Left Behind: A Fantastic Paradox?
• 2.2.3 The Fantastic Genres: A Grammatical Approach
• 2.2.4 If [World], Then [Fantastic]: The Conditions of Conditionals
• 3 “Two Mighty Monarchies” – Theism and Atheism in the Fantastic
• 3.1 Babel Fish and 42 – The Hitchhiker’s Guide to the Galaxy
• 3.1.1 Gods and Power
• 3.1.2 Omniscience and Truth
• 3.1.3 Morality and Benevolence
• 3.1.4 Evolution and Existential Singularity
• 3.1.4.1 Flying as Atheistic Quasi-Salvation
• 3.1.5 The Atheist Gedankenspiel of The Hitchhiker’s Guide
• 3.1.6 Omniscient Narration and Stylistic Devices
• 3.1.7 The Heart of Gold as an Atheist Counter to the Deus ex Machina
• 3.1.8 Concluding Remarks
• 3.2 Multidimensional Milton – His Dark Materials
• 3.2.1 Mythology and Narrative
• 3.2.2 Opposing the Narrative Absolute
• 3.2.2.1 Authority’s End – Power in His Dark Materials
• 3.2.2.2 Lyra and Deception – The Perspectival Truth of His Dark Materials
• 3.2.2.3 Ethics for Polar Bears – Moral Subjectivism in His Dark Materials
• 3.2.2.4 Atheist Alpha and Omega – Reward and Creation Deconstructed
• 3.2.3 Because I am… – Pullman’s Naturalistic Imperative
• 3.2.4 Denatura et Impera? Biblical Strategies Revisited
• 3.2.5 His Dark Materials: A New Atheist Narrative
• 3.3 Necro-Nephites and Lycanthrope Lamanites: Twilight
• 3.3.1 Is that you, Joe?: Mormon Myth and Allegory
• 3.3.2 Theist Markers in the Twilight Saga
• 3.3.2.1 Power and Sacrifice
• 3.3.2.2 Truth and Revelation
• 3.3.2.3 Stalking for Prophet: Morality in the Twilight Saga
• 3.3.2.4 Sacrifice and Reward
• 3.3.3 Dreams of a Meadow – Twilight as Apologetic Space
• 3.3.4 Concluding Remarks
• 3.4 Revelation Reloaded: Left Behind
• 3.4.1 God ↔Truth
• 3.4.2 God ↔ Order
• 3.4.3 God ↔ Good
• 3.4.4 God ↔ Love
• 3.4.5 Ex Falso Quodlibet: Binary Paradox in Left Behind’s Antagonists
• 3.4.6 Mine Eyes Have Seen The Glory . . . And Nothing Else Matters: The Monological Narrative of Left Behind
• 3.5 “…into an Hourglass”: Analytical Conclusions
• 3.5.1 Atheist Fantasy Fiction
• 3.5.2 Theist Fantasy Fiction
• 3.5.3 Gedankenspiel vs Myth: Framing Theist/Atheist Modes in Conditionals
• 4 “Imaginary Forces” - Delineating Theist and Atheist Narratology
• 4.1 Dialogical (Linear) vs Monological (Circular) Functions
• 4.2 Of Circles Undisturbed: The Argumentational Dimensions of Theist Narratology
• 4.3 Narratology from Above: Pressgang Similes
• 4.4 Riding the Elephant: Embracing Faith in Style
• 4.5 Iff Only: The Theist Conditional Mode
• 4.6 Concluding Remarks
• 5 Conclusion
• 5.1 The Conditional Model
• 5.2 The New Theist Narratology
• 5.3 Cultural Implications
• 5.4 Fantasy
• 5.5 Caveats, Outlook and Final Remarks
• Bibliography