Abstract
This paper argues that the treatment of reality and fantasy in works by Lewis Carroll is unique in the annals of literature, for never has it been accomplished with such an effectiveness, subtlety, delicacy and poignancy. The paper first outlines the realms of reality and fantasy, before positing a commentary on the treatment, the juxtaposition and the eventual merging of these existential states in the earlier set of works by Lewis Carroll. The works considered are: "Alice in Wonderland" and "Through the Looking Glass".

From the Paper
"Looking at these works, an extremely interesting fact emerges. The author has made use of a skillful set of frames in the narration of works that aspire almost to the status of epics. Literary frames are devices that enable an author to activate various levels of demarcation in a work, enabling the author himself to remain relatively discrete of his own work. The first frame used in 'Alice in Wonderland' is the concept of a dream into which Alice tumbles, thus entering the world of Wonderland. The figure of the White Rabbit, the harbinger of chaos, a denizen from the other world setting foot into this one is the first element of fantasy that one finds in the book."

Tags:White, Knight, white, rabbit, Jabberwocky, Humpty-Dumpty

Abstract
The paper discusses how during the 19th century, the genre of children's fantasy literature emerged, with two of the most prominent authors of this genre being Charles Kingsley and Lewis Carroll. The paper asserts that of the two, Carroll seems more interested in helping children imagine and fantasize. The paper shows how while Kingsley did innovate with fantasy literature, he also tried to convey a very Victorian set of moral teachings for children, while Carroll focused exclusively on innovating for children.

From the Paper
"Charles Lutwidge Dodgson (a.k.a. Lewis Carroll) and Charles Kingsley were two of the most popular 19th Century authors of children's fantasy literature. Both, coincidently were ordained clergymen and both were influential writers who can be seen as a part of the Victorian age, publishing Alice in Wonderland (Carroll) in 1865 and Water Babies (Kinsley) in 1863 (Lam). As a genre of literature, fantasy was somewhat controversial for much the 19th Century. Many believed that children's literature should mainly..."

Tags:fantasy, kingsley, carroll

Abstract
This paper discusses the depiction of the supernatural in literature. It specifically looks at the ways that the supernatural is portrayed in William Shakespeare's plays and focuses on the witches in "Macbeth" and the fantasy and illusion of "A Midsummer Night's Dream." The paper concludes by mentioning other works that have depicted the supernatural, such as Rudolfo Anaya's novel, "Bless me, Ultima."

From the Paper
"There are no significant actual dreams in the play but rather some dreamlike situations that add to the magical quality of the story. For example, after Titania, the fairy queen whom Oberon wanted to fall in love with someone other than the little boy of her friend's, wakes up from her sleep with love potion on her eyes and under the spell of that charm, immediately falls in love with a clownish figure Bottom. This may appear to be a very hilarious situation to the readers but it is situations like these that were responsible for bringing about a significant change in the course of the play. During that period when she was under the influence of the charm, she dotes on the clown but as soon as the spell ends, she starts loathing the very same person. Whatever has taken place during the spell was a beautiful dream to Bottom who lacked the intelligence to fathom what had happened to him. (IV, i., ll.205-214) Another very important role of dreams can be understood by the speech of Puck in the last Act when he offers an explanation for dreamlike situations to other characters. He wants them to think of their past as nothing but a dream because this explanation could answer whatever questions they had in mind. (ACT V)"

Tags:dream, potion, forces

Abstract
The paper discusses how J.R.R. Tolkien's, "The Hobbit", offers a direct challenge to the traditional notion of a hero (as usually found in fantasy literature) by having as its protagonist a short, fat, ignoble and not overly-brilliant hobbit - and a hobbit who, far from wanting to wage war, is rather timorous, hardly idealistic (at least at first) and ultimately decides that peace is more important than absolute loyalty to one's tribe.

From the Paper
"J.R.R. Tolkien's, "The Hobbit", offers a direct challenge to the traditional notion of a hero (as usually found in fantasy literature) by having as its protagonist a short, fat, ignoble and not overly-brilliant hobbit - and a hobbit who, far from wanting to wage war, is rather timorous, hardly idealistic (at least at first) and ultimately decides that peace is more important than absolute loyalty to one's tribe."

Tags:tolkien, literature, hero

Abstract
This paper focuses on important relationships mentioned in the two famous ancient stories of "Epic of Gilgamesh" and "Ramayana". These relationships are known for the elements of myth and fantasy present in them. Readers notice that love that appears in ancient stories is strangely different in nature from love as we know it today

From the Paper
"In ancient stories, we often come across relationships, which are rather strange in nature. These relationships and their intensity often surprise the readers because of the elements of fantasy and myth in them. But they also make these relationships unique and interesting and thus invite the readers into a whole new world of fantasy and dream. But upon close study, we notice that these relationships are not merely based on man's desire and need for companionship but in most cases have a purpose to serve. For example in the story of Epic of Gilgamesh, the relationship of the protagonist with Enkidu humbles the former and teaches him more about love and compassion. This was the primary reason why Enkidu was sent in Gilgamesh's life."

Tags:literature, ancient, love, relationship, novel, myth, fantasy

Abstract
Gothic is defined in literature as a genre that has both horror and romance in its plot. Gothic literature-or should I say good gothic literature-has terror and romance. The terror is psychological and physical-there are ghosts, houses that are haunted and all the supernatural things a creative mind can conjure up. However, gothic is romance too. There are secrets, madness and perversity in this genre's love. In gothic fiction, characters represent the self that we struggle to keep hidden from the other people in our lives. This is what makes gothic literature fantasy.

From the Paper
Expectations in Gothic Literature What is Gothic Literature: Gothic is defined in literature as a genre that has both horror and romance in its plot. Gothic literature--or should I say good gothic literature--has terror and romance. The terror is psychological and physical--there are ghosts, houses that are haunted and all the supernatural things a creative mind can conjure up. However, gothic is romance too. There are secrets, madness and perversity in this genre's love. In gothic fiction, characters represent the self that we struggle to keep hidden from the other people in our lives. This is what makes gothic

Tags:gothic, fulfillment, literature

Abstract
This body of papers provides five different works related to two sources in children's literature, Charles A. Smith's "From Wonder to Wisdom: Using Stories to Help Children Grow" and Donna E. Norton's "Through The Eyes of A Child: An Introduction to Children's Literature". Two of the papers summarize the chapters in each of the works respectively. Two of the papers comment on bibliography selections offered by Norton and a journal of carrying out some of her suggested activities in each chapter. A final paper is a research report that provides an overview of the history of children's literature.

From the Paper
"Teachers play a major role in developing a love of books. Values gained through literature in childhood have significant influences on adults. Age appropriate literature can have a profound influence on cognitive, personality, social and moral development in children. Encouraging and motivating children to respond to the literature they read is one of the most significant goals of the educator working with literature and children. Knowledge of self motivation and intellectual curiosity are also promoted..."

Tags:oral tradition, fairytales, fantasy, tall tales, picture books, instructional books, development, age appropriate, censorship, social values, religion, politics, education, teaching, parents, storytelling

Abstract
This paper is about Sigmund Freud's concept of 'unconscious' and its relevance in the arts. The author discusses how Freud is commonly recognized as having invented the concept of the "unconscious". The author explains that the subordination of the "pleasure principle" by the "reality principle" is done through a mental process that Freud refers to as sublimation. According to Sigmund Freud, dreams and fantasies (or phantasies) are the symbolic expression and fulfillment of wishes and desires that as a result of sublimation by the "reality principle" cannot be fulfilled through daily life and are consequently repressed into the "unconscious." To Freud, "the motive forces of fantasies are unsatisfied wishes, and every single fantasy is the fulfillment of a wish, a correction of unsatisfying reality" (Freud 485). Freud affirms that dreams are disguised, hallucinatory fulfillment's of repressed wishes. He concludes that if expressed in undisguised form, they would be so disturbing that it would wake the dreamer from sleep. Freud's fundamental assumption is that the sublimation of the artist's unsatisfied libido is responsible for producing all forms of art and literature whether it be painting, sculpting, or writing. David H. Richter notes in his introduction to "Sigmund Freud" that Freud was once criticized by Carl Gustav Jung, a fellow psychoanalytic theorist, for insinuating that artists were diseased individuals creating art out of their own personal neurotic needs. The writer feels that Freud insinuates that art is primarily an escapist method, that "in an ideal world in which everyone had matured sufficiently to replace the pleasure principle by the reality principle, there would be no need for art" (Storr 103).

From the Paper
"The historical tradition of scholarly theory has been one in which literary texts are subjected to scrutiny regarding whether they are either implicitly or explicitly ideological in nature. Arguably so, nothing reflects a society's fears, hopes, and desires about gender, class, and power more than what the society maintains about art and artists. A literary text is credible of fully reflecting the culture in which it was written, that is to say, it has the potential to embody certain sociological assumptions presented in the dichotomy between "normal" and "abnormal." Sigmund Freud, the patriarch of psychoanalysis, is associated with Charles Darwin and Karl Marx as being "one of the three original thinkers who have most altered man's view of himself in the twentieth century" (Storr 145). Yet, even literary theorists, including Freud, realized that "any comprehensive vision of human nature such as he provides must have implications for the nature of happiness, and for the relation of man's natural capacities to his normal or ideal state" (Sousa 196). That is, numerous later theorists and critics believe that Freud's own theories about the function and nature of the mind uncovered some fundamental truths about how an individual's notions of "self"are formed and how culture and civilization operate and are affected by these notions. Coinciding with Freud's own account, the significance of everyday action is determined by motives that are far more numerous and complex than people are aware of or commonsense understanding takes into account. The most basic and constant of motives that influence our actions are those of the unconscious, moreover, those that are difficult to acknowledge or avow. Freud's conception of the unconscious and his rediscovery of the importance of dreams encouraged painters, sculptors and writers to pay serious attention to their inner world of dreams; to find significance in thoughts and images they previously would have dismissed as absurd or illogical. Therefore it is plausible that notions of art and literature as described by Sigmund Freud, are created through the ramifications of the unconscious or the sublimation of an unsatisfied carnal appetite.""

Tags:conscious, dreams, fantasies, phantasies, pleasure, principle, reality, unconscious

Abstract
In this article, the writer notes that there are many examples in children's literature where child characters act as adults. The writer points out that the characterizations of Alice in 'Alice's Adventures in Wonderland' as well as Dorothy in 'Ozma of Oz are excellent examples of the phenomena in literature. The writer also points out that the reality of the phenomena is that, for the most part children's literature is created by adults, and these same adults, as children wish they had been able to act as adults, upon the arbitrary world of adults. The main characters in these two works demonstrate this phenomenon by calmly dealing with the world around them as if they had years of adult conflicts under their belt, as the desire to be recognized as having power, as a child demonstrates a desire to emulate adults and therefore resolve the arbitrary conflicts that occur in the adult world. The writer concludes that part of the the purpose of the writer is to recount the innocence of a child, and still manage to fulfill one's obligations as an adult. The writer maintains that the children in these two fantastic stories are reflecting the need to remember the fantasy of childhood as well as the obligations of adulthood, without losing either.

From the Paper
"The resolution to resolve the arbitrary conflicts of adults, in the magical world of mystery, as well as in the real world are clear intentions of personal growth. To act as an adult, and to have the influence of an adult, is the aspiration of all children, especially in a world where such actions are recognized as brave and necessary. Adults who write works of fiction for children, remember their own days as children, being unable to navigate the mysteries of the adult world and wishing more than anything to have influence over them. The reflection of the desire, as a child to understand and resolve the mystery of the adult world is reflected in fantasy. Childhood is a period of clarity and innocence, that writers of children's works wish to retell to children of the younger generations. There is no sense of real childhood fear, as the innocence of a child drives his or her clarity in the world of adults, no matter the level of mystery. The idea of personal growth and influence, drives the child's actions, and the child seeks this recognition in the real as well as the world of imagination. Upon waking, Alice's sister, now an adult recognizes in Alice's recalled dream the nature of children and the need to remain innocent."

Tags:childhood, adult, power, bravery, Dorothy

Abstract
This paper examines how Gothic Literature pushed the boundaries of the romance narrative to create stories that were fueled with fantasy and desire which expanded the realm of the imagination by exciting mystery and intrigue, bringing to the foreground an animated spectacle of terrific apparitions and horrifying spectres. In particular, it demonstrates how within the novels "The Italian" and "The Monk", both Lewis and Radcliffe contrive to produce emotions and passions from an animated and mysterious literary fiction. It looks at how Radcliffe's use of excess is to create suspense and mystery, fear and anticipation, in a more passive manner that evokes reader empathy while Lewis theatrically uses excess to heighten the realism and wickedly expose the precarious features of Gothicism. It shows how both undeniably use it to create excitement and passion at a socially transgressive time.

From the Paper
"It is the Monk Schedoni in The Italian who warps the Marchesa's already vicious mind into acts of iniquitous behavior. Although the Marchesa's aristocratic values concerning "bad blood" between Vivaldi and Ellena start the cogs turning in the wheel of evil towards Ellena, it is the Monk who systematically perverts the thoughts of the Marchesa from wrong to evil: "He wished to prepare her for measures, which might hereafter be necessary to accomplish the revenge he meditated, and he knew that by flattering her vanity, he was most likely to succeed." (Italian 130) However Schedoni uses the Marchesa for his profane revenge on the consequences of primogeniture and seeks to repair the damages caused from his exclusion of his family on that of the Marchese di Vivaldi."

Tags:graveyard, horror, religion, romanticism, sexuality, terror