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Low fantasy, or intrusion fantasy, is a subgenre of fantasy fiction in which magical events intrude on an otherwise-normal world. [1] [2] The term thus contrasts with high fantasy stories, which take place in fictional worlds that have their own sets of rules and physical laws.
Speculative fiction is an umbrella genre of fiction that encompasses all the subgenres that depart from realism, or strictly imitating everyday reality, [1] instead presenting fantastical, supernatural, futuristic, or other imaginative realms. [2]
Magical realism, magic realism, or marvelous realism is a style or genre of fiction and art that presents a realistic view of the world while incorporating magical elements, often blurring the lines between speculation and reality. [1]
Magic in fiction is the endowment of characters or objects in works of fiction or fantasy with powers that do not naturally occur in the real world. Magic often serves as a plot device and has long been a component of fiction, since writing was invented .
Grandiosity is an attitude of extraordinary self-regard (feelings of superiority, uniqueness, importance or invulnerability), while grandiose delusion concerns specific extraordinary factual beliefs about one's fame, wealth, powers, or religious and historical relevance.
Hyperphantasia is the condition of having extremely vivid mental imagery. [1] It is the opposite condition to aphantasia, where mental visual imagery is not present. [2] [3] The experience of hyperphantasia is more common than aphantasia [4] [5] and has been described as being "as vivid as real seeing". [4]
The political (rather than analytic or conceptual) critique of binary oppositions is an important part of third wave feminism, post-colonialism, post-anarchism, and critical race theory, which argue that the perceived binary dichotomy between man/woman, civilized/uncivilised, and white/black have perpetuated and legitimized societal power structures favoring a specific majority.
Magical Negro characters, often possessing special insight or mystical powers, have long been a tradition in American fiction. [2] The old-fashioned word " Negro " is used to imply that a "magical black character" who devotes himself to selflessly helping whites is a throwback to racist stereotypes such as the " Sambo " or " noble savage ".