Daniel Holland . Professor Milford . 1102 . 5/3/17 . Magical

The article on the fantasy within the novella reveals the debate of the governess’s mental state during her time with the children. The debacle that can be depicted within the work can be surrounded through the idea that her fantasies represent the point in which she is at her most anxious. When her anxiety reaches a certain peak, the ghost then appears. This can especially be seen just before the first sighting, when she says, “I was giving pleasure-if he ever thought of it! - to the person to whose pressure I had yielded” (38). The pressure she is experiencing allows her mental state to bring out the fantasy aspect of the apparition. Using Zacharias’s article, the audience can see the fantasy is a mechanism that is used by the governess and

Thesis: There are many similarities in the Matrix ( Wachowski, Andy, and Lana Wachowski 1999 ), The Allegory of the Cave ( Plato ) and Meditation I of The Things of Which We May Doubt ( Decartes, 1641 ). It appears as you take a close look at the Matrix that it is a retelling of “The Allegory of the Cave” with elements of “Meditation I of the Things of Which We May Doubt” in it as well.

The seclusion endured by the narrator causes a dramatic change in her mental state. Her surroundings are now coming alive within the walls around her. “I didn’t realize for a long time what the thing was that showed behind, that dim sub-pattern, but now I am quite sure it is a woman” (736). Initially, the figure witnessed around the walls was merely just the shadow projected from the narrator creeping around the paper. Now this shadow is taking on not just any life form but ironically the form of a woman. Just like the narrator is trapped within the barred windows of the mansion, the woman is trapped within the patterns of the paper. This parallel view is transforming the narrator’s identity within the walls of the paper. However, this obsession begins to heighten. She begins to see the woman through every window in the bedroom. She appears to be creeping not only around the walls but now outside in the garden and along the

In Harry Potter and the Sorcerer’s Stone, by J.K. Rowling, Harry Potter encounters many new people and obstacles that help Harry development as a character. With these obstacles J.K Rowling provides our readers with imagery that engages our senses. Through the use of imagery Rowling plants symbols throughout the narrative that are crucial to the creation of the fantasy. The obstacles that Rowling uses to provide imagery are the Sorting Hat, the introduction of new characters, the Mirror of Erised, the trials needed to reach the Sorcerer’s Stone, and, finally, The Sorcerer’s Stone.

The similarities between The Cave and The Matrix are too uncanny. The description of the cave above, which is discussed in the first paragraph of Plato’s seventh book, can be portrayed similarly in

The director Guillero Del Torro uses many motifs and parallels in his film Pan's Labyrinth. The most obvious parallel in the film is the parallel between the real world and the fantasy world of the character Ofelia. Both worlds are filled with danger. At any second in both of these worlds your life could be lost. Del Torro separates the real world from the fantasy world with many visual motifs.

2. The Devil intervenes within the scenes of light and purity by shouting his threats. By using such extreme differences in vocal technique, the essential message of the morality play is shown here.

The uses foreshadowing by Del Toro also plays in as a technique in depicting a predictive or predetermined conclusion for the protagonist and what is in store for her later on in the movie. In one scene when her mother is on the bed and the baby starts kicking she tells Ofelia to recite a fable to her unborn brother to calm him down, her story is about pain and loss and the reward in the end granted be eternal life. The fable she tells foreshadows the imagination she has for hardships she faces in reality and her conclusion

Lyn Di Iorio and Laura Restrepo in their respective novels have managed to provide an overview that how supernatural and mystical powers and entities can change the life and perspective of individuals. Both of the novels entitled as Outside the Bones and Delirium are having a similar theme of conventionality and ghostliness.

Throughout literary history, different themes have proven to be consistently popular for audiences. The desire to present an accurate reflection of reality has proven to be a major source of inspiration for both authors and readers alike. Reality as a theme is prevalent in literature, and the numerous ways that reality and illusion intertwine. In William Shakespeare’s play, A Midsummer Night’s Dream, the illusory world which the characters inhabit is enhanced by the supernatural. The relationship between Oberon and Titania contributes to the development of the play’s theme of reality and illusion; they are the catalyst by which the play’s action occurs, and their spontaneous natures are countered with human flaws, further

Moreover, this drawing of the tree is representative of the mind growth of Melinda. For instance, the drawing was poorly drawn at the beginning of the book, Melinda’s pressure and her life were weighing her down. As the drawing got better throughout the school year, Melinda’s strength and mindset also began to get better as well. If the tree meant “to shelter”, then Melinda sure developed a very nice shelter for herself in the end.

The personified labyrinth changes itself based on people’s actions, but at the same time is able to embrace all possibilities. This paradox was explained through the narrator’s thought process at the end of the story, when he looks around the garden and notices all the possible realities, but they all fade away because he is being actively pursued by Caption Madden. Earlier in the story the narrator had a similar transcendent sensation as he walked to Stephen Albert’s house. The imagery Borges uses on this walk emphasis the effects that people can have on each other’s timelines. Through personification, paradox, and imagery Borges simplifies a complicated theory of the interactions between people and

Setting is one of the vital elements of fiction. A work can only be fully approached if it is first based on its setting, which guides the development of the work. For “Pan’s labyrinth”, an outstanding cinema work rich in symbols, details and meaning, it is even more essential for us to take the underlying context into serious consideration

This incorporation of metaphors, symbols, and motifs is done seamlessly, and, Borges uses these strategies in nearly all of his fictions. some fictions which exemplify this strategy are “ The Garden of Forking Paths”, “The Circular Ruins”, and “Tlon Uqbar.” In these fictions, Borges uses symbols like mirrors and motifs like labyrinths, time, and dreaming to make his themes and ideas evident. This can be seen in “The Garden of Forking Paths” where Borges writes with a motif of labyrinths. In this fiction, labyrinths are constantly mentioned, as well as, confusion, diverging paths, and paths in general. Borges uses these as symbols to reinforce the motif of labyrinths which can also suggest complexity. Within the writing the reader discovers that labyrinths are consistently incorporated as well as time. Time is implicated in myriad ways in this fiction. It can be found in phrases like “An invisible labyrinth of time.” (Borges 73) which is used to describe the novel

[is] Dorotea” in disguise, it does not fit into Quixote’s frame of thinking and is therefore rejected, “Can you be in your right mind?” This irony is used by Cervantes to introduce the reader to the issue of perspective. In this world there are two paradigms which are followed: one is to see the world through the fantastical and idealistic madness of Quixote, and the other is to view it through the realism adopted by the other characters of the text. Quixote’s madness creates a world where everything is taken at face value, not allowing the idea of deception to exist. When the issue of deception arises, he formulates alternate explanations which are in keeping with his perspective, stating that “...everything that happens in this place is brought about by enchantment.” The alternate view which is held by most of the other players is that, “anyone could see when he said that those windmills were giants, and those friars’ mules were dromedaries and those flock of sheep were enemy armies”. The hyperbolic images in Sancho’s sarcasm give the reader an insight into the sheer vastness of Quixote’s generalisation of his belief. It is Quixote’s differing school of thought which Cervantes uses to establish his alienation from the sanity of the constructed world. Contrastingly, In Alice’s Adventures in Wonderland, Alice is the voice of sanity in the phantasmagorical setting of Wonderland. However, this also