[009]
24.107.19.44
Current Version
Changed line(s) 2 from:
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The magical events in \
to:
The magical events in \\\"magical realism\\\" are fraught with symbolic significance.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s an phenomenon in their world that acts as a symbolic shorthand for the psychology and development of the characters. To the audience, it appears fantastic, but it\\\'s purpose in the plot isn\\\'t simply the novelty factor.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is an excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and fearfully primitive worldview.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative. (And the whole scenario was probably a metaphor to drive home a bit of political commentary on Shamalan\\\'s part.)
Let me explain by another example.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if she is tempted then Satan would literally show up to bargain with her. God would literally speak to her or perhaps an angel my pop on by to have tea. Usually, these events will punctuate some significant evolution of her character or otherwise reveal her mentality. It isn\\\'t really important whether *you* believe these things, so much as that it is an accepted part of *her* story.
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma which is being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s an phenomenon in their world that acts as a symbolic shorthand for the psychology and development of the characters. To the audience, it appears fantastic, but it\\\'s purpose in the plot isn\\\'t simply the novelty factor.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is an excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and fearfully primitive worldview.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative. (And the whole scenario was probably a metaphor to drive home a bit of political commentary on Shamalan\\\'s part.)
Let me explain by another example.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if she is tempted then Satan would literally show up to bargain with her. God would literally speak to her or perhaps an angel my pop on by to have tea. Usually, these events will punctuate some significant evolution of her character or otherwise reveal her mentality. It isn\\\'t really important whether *you* believe these things, so much as that it is an accepted part of *her* story.
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma which is being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
Changed line(s) 2 from:
n
The magical events in \
to:
The magical events in \\\"magical realism\\\" are fraught with symbolic significance.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s an phenomenon in their world that acts as a symbolic shorthand for the psychology and development of the characters. To the audience, it appears fantastic, but it\\\'s purpose in the plot isn\\\'t simply the novelty factor.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is an excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and fearfully primitive worldview.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative. (And the whole scenario was probably a metaphor to drive home a bit of political commentary on Shamalan\\\'s part.)
Let me explain by another example.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if she is tempted then Satan would literally show up to bargain with her. God would literally speak to her or perhaps an angel my pop on by to have tea. Usually, these events will punctuate some significant evolution of her character or otherwise reveal her mentality.
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma which is being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s an phenomenon in their world that acts as a symbolic shorthand for the psychology and development of the characters. To the audience, it appears fantastic, but it\\\'s purpose in the plot isn\\\'t simply the novelty factor.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is an excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and fearfully primitive worldview.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative. (And the whole scenario was probably a metaphor to drive home a bit of political commentary on Shamalan\\\'s part.)
Let me explain by another example.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if she is tempted then Satan would literally show up to bargain with her. God would literally speak to her or perhaps an angel my pop on by to have tea. Usually, these events will punctuate some significant evolution of her character or otherwise reveal her mentality.
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma which is being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
Changed line(s) 2 from:
n
The magical events in \
to:
The magical events in \\\"magical realism\\\" are fraught with symbolic significance.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s an phenomenon in their world that acts as a symbolic shorthand for the psychology and development of the characters. To the audience, it appears fantastic, but it\\\'s purpose in the plot isn\\\'t simply the novelty factor.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is an excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and fearfully primitive worldview.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative. (And the whole scenario was probably a metaphor to drive home a bit of political commentary on Shamalan\\\'s part.)
Let me explain by another example.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if a red man in a business suit shows up at her door and tempts her, that this is actually an explanation for any character development on her part. God literally speaks to her and it makes sense as an explanation within her narrative. And usually, these events will punctuate some significant evolution of her character or otherwise be revealing.
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma which is being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s an phenomenon in their world that acts as a symbolic shorthand for the psychology and development of the characters. To the audience, it appears fantastic, but it\\\'s purpose in the plot isn\\\'t simply the novelty factor.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is an excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and fearfully primitive worldview.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative. (And the whole scenario was probably a metaphor to drive home a bit of political commentary on Shamalan\\\'s part.)
Let me explain by another example.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if a red man in a business suit shows up at her door and tempts her, that this is actually an explanation for any character development on her part. God literally speaks to her and it makes sense as an explanation within her narrative. And usually, these events will punctuate some significant evolution of her character or otherwise be revealing.
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma which is being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
Changed line(s) 2 from:
n
The magical events in \
to:
The magical events in \\\"magical realism\\\" are fraught with symbolic significance.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s an phenomenon in their world that acts as a symbolic shorthand for the psychology and development of the characters. To the audience, it appears fantastic, but it\\\'s purpose in the plot isn\\\'t simply the novelty factor.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is an excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and primitive world-view.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative. (And it was probably an attempt at social commentary on Shamalan\\\'s part.)
Let me explain by another example.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if a red man in a business suit shows up at her door and tempts her, that this is actually an explanation for any character development on her part. God literally speaks to her and it makes sense as an explanation within her narrative. And usually, these events will punctuate some significant evolution of her character or otherwise be revealing.
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma which is being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s an phenomenon in their world that acts as a symbolic shorthand for the psychology and development of the characters. To the audience, it appears fantastic, but it\\\'s purpose in the plot isn\\\'t simply the novelty factor.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is an excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and primitive world-view.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative. (And it was probably an attempt at social commentary on Shamalan\\\'s part.)
Let me explain by another example.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if a red man in a business suit shows up at her door and tempts her, that this is actually an explanation for any character development on her part. God literally speaks to her and it makes sense as an explanation within her narrative. And usually, these events will punctuate some significant evolution of her character or otherwise be revealing.
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma which is being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
Changed line(s) 2 from:
n
The magical events in \
to:
The magical events in \\\"magical realism\\\" are fraught with symbolic significance.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s an phenomenon in their world that acts as a symbolic shorthand for the psychology and development of the characters. To the audience, it appears fantastic, but it\\\'s purpose in the plot isn\\\'t simply the novelty factor.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is an excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and primitive world-view.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative.
Let me explain by another example.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if a red man in a business suit shows up at her door and tempts her, that this is actually an explanation for any character development on her part. God literally speaks to her and it makes sense as an explanation within her narrative. And usually, these events will punctuate some significant evolution of her character or otherwise be revealing.
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma which is being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s an phenomenon in their world that acts as a symbolic shorthand for the psychology and development of the characters. To the audience, it appears fantastic, but it\\\'s purpose in the plot isn\\\'t simply the novelty factor.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is an excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and primitive world-view.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative.
Let me explain by another example.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if a red man in a business suit shows up at her door and tempts her, that this is actually an explanation for any character development on her part. God literally speaks to her and it makes sense as an explanation within her narrative. And usually, these events will punctuate some significant evolution of her character or otherwise be revealing.
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma which is being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
Changed line(s) 2 from:
n
The magical events in \
to:
The magical events in \\\"magical realism\\\" are fraught with symbolic or literal significance.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s just part of how their world works and can act as symbolic shorthand for the psychology and development of the characters. It is NOT the same as low-magic settings.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is an excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and primitive world-view.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative.
Let me explain by another example.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if a red man in a business suit shows up at her door and tempts her, that this is actually an explanation for any character development on her part. God literally speaks to her and it makes sense as an explanation within her narrative. And usually, these events will punctuate some significant evolution of her character or otherwise be revealing.
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma which is being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s just part of how their world works and can act as symbolic shorthand for the psychology and development of the characters. It is NOT the same as low-magic settings.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is an excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and primitive world-view.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative.
Let me explain by another example.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if a red man in a business suit shows up at her door and tempts her, that this is actually an explanation for any character development on her part. God literally speaks to her and it makes sense as an explanation within her narrative. And usually, these events will punctuate some significant evolution of her character or otherwise be revealing.
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma which is being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
Changed line(s) 2 from:
n
The magical events in \
to:
The magical events in \\\"magical realism\\\" are fraught with symbolic or literal significance.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s just part of how their world works and can act as symbolic shorthand for the psychology and development of the characters. It is NOT the same as low-magic settings.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is an excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and primitive world-view.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative.
Let me explain by examples.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if a red man in a business suit shows up at her door and tempts her, that this is actually an explanation for any character development on her part. God literally speaks to her and it makes sense as an explanation within her narrative. (As an atheist, I\\\'d dismiss her as delusional.)
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s just part of how their world works and can act as symbolic shorthand for the psychology and development of the characters. It is NOT the same as low-magic settings.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is an excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and primitive world-view.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative.
Let me explain by examples.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if a red man in a business suit shows up at her door and tempts her, that this is actually an explanation for any character development on her part. God literally speaks to her and it makes sense as an explanation within her narrative. (As an atheist, I\\\'d dismiss her as delusional.)
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
Changed line(s) 2 from:
n
The magical events in \
to:
The magical events in \\\"magical realism\\\" are fraught with symbolic or literal significance.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s just part of how their world works and can act as symbolic shorthand for the psychology and development of the characters. It is NOT the same as low-magic settings.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is another excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and primitive world-view.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative.
Let me explain by examples.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if a red man in a business suit shows up at her door and tempts her, that this is actually an explanation for any character development on her part. God literally speaks to her and it makes sense as an explanation within her narrative. (As an atheist, I\\\'d dismiss her as delusional.)
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s just part of how their world works and can act as symbolic shorthand for the psychology and development of the characters. It is NOT the same as low-magic settings.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is another excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and primitive world-view.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative.
Let me explain by examples.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if a red man in a business suit shows up at her door and tempts her, that this is actually an explanation for any character development on her part. God literally speaks to her and it makes sense as an explanation within her narrative. (As an atheist, I\\\'d dismiss her as delusional.)
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
Changed line(s) 2 from:
n
It seems to me magic realism is more about fantastic elements as \
to:
The magical events in \\\"magical symbolism\\\" are fraught with symbolic or literal significance to the protagonist or characters.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s just part of how their world works and can act as symbolic shorthand for the psychology and development of the characters.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is another excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and primitive world-view.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative.
Let me explain by examples.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if a red man in a business suit shows up at her door and tempts her, that this is actually an explanation for any character development on her part. God literally speaks to her and it makes sense as an explanation within her narrative. (As an atheist, I\\\'d dismiss her as delusional.)
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
The \\\"magic\\\" of the setting is not usually controlled by its characters. It is not really a technological solution for the characters. It\\\'s just part of how their world works and can act as symbolic shorthand for the psychology and development of the characters.
M. Night\\\'s Shamalan\\\'s \\\"The Village\\\" is another excellent example.
The monsters in the movie are literally thought to be supernatural abominations who inexplicably attack the village. They are spoken of in hushed tones and people hide when they\\\'re out-and-about. Everybody acts and believes as if this \\\"magic\\\" were real. It\\\'s indicative of their superstitious and primitive world-view.
It\\\'s only at the end that it\\\'s revealed that the monsters were really just the elders in rubber masks who were running a conspiracy. It\\\'s all an illusion.
The \\\"unmasking\\\" isn\\\'t necessary since the whole point is that the magical thing going on can be taken literally for the purposes of the narrative.
Let me explain by examples.
If a woman is a Christian who believes in angels, then a story about her would literally include all the events where miracles, angels and Satan are literally true to her and interact with her. It is *actually* an explanation that if a red man in a business suit shows up at her door and tempts her, that this is actually an explanation for any character development on her part. God literally speaks to her and it makes sense as an explanation within her narrative. (As an atheist, I\\\'d dismiss her as delusional.)
In Kafka\\\'s Metamorphosis, we accept the protagonist\\\'s transformation as literally real. But it also acts as a metaphor for a terminal disease, deformity or stigma being hidden away by a family who is too embarrassed to let him out into polite company. It\\\'s about the decay of a man who is dying by inches -- both socially and psychologically.
