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There are three items that have featured in the development of the complex story web, i.e. diffusion, inheritance and invention. Diffusion and inheritance point to invention and do not help to demystify the invention mystery. Diffusion is about borrowing in space while inheritance has to do with time-defined borrowing. These concepts presuppose a mind that is inventive; the central preoccupation of Tolkien.
It is also apparent that the tongue, the incarnate mind and the tale are our coeval world. The mind of the human being is empowered with generalization power and abstraction sees both the grass and the color green in its discrimination. The inventive mind, the doctrine of creative imagination has, clearly, informed such description. The fairy story is, basically, a product of secondary imagination. The latter is an echo of the primary imagination that perceives and creates reality. Creative imagination must be perceived with the seriousness it deserves in Tolkien's theory of the Fairy. The developer, the writer of such a story is a sub-creator because he creates a world in which the reader enters and lives. The state of the mind of the reader is rather roughly described but not accurately in the expression ''willing suspension of disbelief.' The expression suggests a toleration of agreement. The reader embarks on secondary belief when the story succeeds. This will hold true for as long as the narration and relation of the world hold true to the contemporary rules of such a world. If that happens, you easily believe while you are right at the heart of the creative world presented to you.
In fact, he stresses that these stories should be read without any commentary about the possible unconscious content. "Fairy tales can and do serve children well, can even make an unbearable life seem worth living, as long as the child doesn't know what they mean to him psychologically" (Bettelheim 57). This destroys the story's enchantment. More recently, different authors have returned to the earlier usage of fairy tales, or conveying
Holes by Louis Sachar Louis Sachar makes this fantasy story seem realistic by the way he intertwines the elements of fantasy or supernatural, with the everyday things that are going on. The story opens with a description of Camp Green Lake, a very brief glimpse in to why anyone would go to a lake where there is no lake and moves to Stanley's arrival at the camp. The more or
Carroll / Burnett Within the English canon of literary fairy-tales -- what German literary critics would refer to as a "marchen," or a conscious attempt to write imaginative literature, with some level of artistry, for children -- both The Secret Garden by Frances Hodgson Burnett and Alice's Adventures in Wonderland by Lewis Carroll seem to have withstood the test of time, and attained a level of canonicity. Yet to call these
CinderellaDisney\\\'s animated Cinderella is a classic fairy tale film that was first released in 1950. The story follows the life of Cinderella, a young girl who is mistreated by her stepmother and stepsisters after the death of her father. Despite her difficult circumstances, Cinderella remains kind and hopeful, and ultimately wins the heart of the prince with the help of her fairy godmother.The Grimm version of Cinderella, also known as
popular culture is relatively young and new in modern society. Sociologists and psychologists began to pay attention to it only at the end of the nineteenth century and at the beginning of the twentieth. Popular culture is a set of values, customs and system of beliefs which are common for people of different financial, class and gender background, so that it forms a wide group of people which goes
film "Pretty Woman" is, in many ways, a modern day Cinderella story (Kelly 1994). To begin with, the major premise of both stories is that a woman of extremely low social standing succeeds in joining with a man of power and wealth. Additionally, both tales involve an element of deception: the females are forced to pretend to be something they are not. Also, both women are rescued from their