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Fantasy Literature, 2002.
A comparison of the fantasy novels "Wheel of Time" and "Lord of The Rings".
1,240 words (approx. 5.0 pages), 0 sources, $ 42.95
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Abstract
This paper compares Robert Jordan?s "The Wheel Of Time" to J.R.R. Tolkien?s "The Lord Of The Rings". It explorers the these great examples of fantasy literature through their similar characters, themes and names. The paper describes that the books are both magical with similar dark lords, heroes, keepers of the lands, monsters, and parents to the heroes.
From the Paper
"Like all other fantasy books, some resemble others greatly. Robert Jordan?s "The Wheel Of Time" closely resembles J.R.R. Tolkien?s "The Lord Of The Rings". The resemblances are mostly resembled in the first few books. Some resemblances occur in many other fantasy series too.
The first and most obvious parallels are the heroes, Frodo in "The Lord Of The Rings" and Rand in "The Wheel Of Time". The heroes in both books are unwilling characters approached by guides and are sent off on dangerous missions where they must fight fear, and face overwhelming chances of failure. They are from far-away places that most kingdoms have never heard of. In "The Lord Of The Rings" they must go and destroy the ring, in "The Wheel Of Time" they must fight Shai'tan. They are targeted by a dark leader. The dark leader in "The Lord Of The Rings" is Sauron, and in "The Wheel Of Time" it is Shai'tan. They have moments of truth where they must have the courage to go beyond their boundaries like going into Shayol Ghul in "The Wheel Of Time" and into Mordor. It is all up to them to save the world."
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Gabriel Garcia Marquez and Magical Realism, 2007.
Examines Gabriel Garcia Marquez uses magical realism in his works.
853 words (approx. 3.4 pages), 6 sources, MLA, $ 30.95
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Abstract
Gabriel Garcia Marquez and his works are inextricably linked to a style of literature known as magical realism, which is a type of literature that is usually characterized by elements of the fantastic woven into the story with a serious presentation. This paper examines how Garcia Marquez uses this element in his works, such as in "One Hundred Years of Solitude" and "Leaf Storm".
From the Paper
"In his 1955 book, "Leaf Storm," Marquez set a new direction to Colombian literature by experimenting with linear time (Cohn). He suspended the forward movement of time through the experiences of the individual characters and of the town itself (Cohn). His use of time reduplicates at the level of form the historical and social situations in a town where the flow of time is no longer significant."
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Religion and Magic, 1992.
A look at religion and magic in Hinduism and Buddhism, including the role of magic in development of religion and a comparison of two religions' use of magic.
1,800 words (approx. 7.2 pages), 5 sources, $ 63.95
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From the Paper
"This study will define and compare religion and magic, and will apply relevant findings to Hinduism and Buddhism. Malinowski, in Magic, Science, and Religion, writes that "It is in (the) distinction between direct control on the one hand and propitiation of superior powers on the other that Sir James Frazier sees the difference between religion and magic. Magic, based on man's confidence that he can dominate nature directly, if only he knows the laws which govern it magically, is in this akin to science. Religion, the confession of human impotence in certain matters, lifts man above the magical level, and later on maintains its independence side by side with science, to which magic has to succumb" (Malinowski, 1954, p. 19).
Noss and Noss, in Man's Religions, agree with Malinowski with respect to the basic difference between magic and religion..."
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Egyptian Magic and Religion, 2003.
Discusses magic as a universal creative principle.
3,375 words (approx. 13.5 pages), 9 sources, $ 119.95
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Abstract
Examines the sacredness of magic, Egyptian cosmology magic preceding religion, restriction of access to magic, magic as manipulation, and the use of magic in two ways: the practice of magic and the preoccupation with death.
From the Paper
"This research examines elements of Egyptian culture that seem closer to magic than to religion as they are commonly understood. Any discussion of Egyptian religion and magic must be prefaced by a caution against a bias, particularly a western bias, thatp..."
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Magic Beings in Fairy Tales, 2004.
This paper introduces, discusses, and analyzes the topic of magic beings in fairy tales.
1,085 words (approx. 4.3 pages), 4 sources, MLA, $ 37.95
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Abstract
This paper discusses the importance of magic beings and fairies in fairy tales. It explains how, today, fairies are a popular form of fantasy that come to life in a variety of ways. One of the most traditional homes for fairies and other magical beings is the fairy tale, created for children but loved by all ages. It discusses how some of the most beloved fairy tales contain fairies and magical beings that are central to the plot, the moral, and the essence of the stories. Without fairies and other magical beings, these tales would lose their magic and their universal appeal.
From the Paper
"Fairies are magical beings that inhabit many of the world's most famous fairy tales. Children old and young are familiar with many of these tales from Cinderella to Sleeping Beauty and beyond. Fairies and magical beings are part of what make these fairy tales so delightful and so memorable. Not all fairies are good, but most of them are happy beings that can make a character's life better, more contented, and more fulfilling. Fairy expert Cassandra Eason notes the word originally meant, "a state of enchantment or glamour, the power of illusion, reflecting the power of beings that might bring blessings or curses, and an ambivalence towards such beings" (Eason 17). Fairies do not inhabit as many fairy tales as one might think, but the tales they do inhabit are special and vibrant, such as "Peter Pan," "Cinderella," "Sleeping Beauty," "The Wizard of Oz," "The Hobbit," and "Snow White." "
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Egyptian Religion and Magic, 2002.
Examines elements of magic and religion in Ancient Egyptian culture.
3,676 words (approx. 14.7 pages), 9 sources, MLA, $ 102.95
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Abstract
This research examines elements of Egyptian culture that seem closer to magic than to religion as they are commonly understood. The research sets forth the context in which concepts of magic and religion achieve resonance in ancient Egypt and then discusses specific examples from Egyptian religious literature and thought that show how the Egyptians distinguished between religion and magic, compared to other monotheists. Finally, it illustrates how magic fits into the religious environment of the culture.
From the Paper
"Differentiating between religion and magic in ancient culture has proved problematic for western commentators to the degree definitions of the terms are approached from the Western but not from a subject other culture's point of view. The tendency to bring Western religious classifications to the project of identifying the attributes of Egyptian religion does not seem to accomplish a great deal analytically. In the worst instances of this type, Ritner says, misinterpretation and mistranslation of some hieroglyphic inscriptions have resulted. Specifically, inscriptions that supposedly distinguished between magic and religion (cult) have proved to be inaccurate. Walker agrees, defining magic not as an expression of evil but as "the art which attempts to influence a course of events by controlling nature of supernatural powers." The good-evil opposition of religion and magic that is typical of and fundamental to Western analysis proves not to be sufficient to the task of understanding the character of religion and the role of magic in religion for Egyptian antiquity."
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Magic in Gothic Literature, 2002.
Discusses the elements of magic in Horace Walpole?s ?The Castle of Otranto? and ?The Monk? by Matthew Lewis.
1,521 words (approx. 6.1 pages), 6 sources, MLA, $ 50.95
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Abstract
The Gothic literature genre began with the publication of Horace Walpole?s novel entitled, ?The Castle of Otranto? in 1765. The paper discusses how elements of magic and terror are interspersed throughout the novel. It shows how this work is similar to that of Matthew Lewis' "The Monk" (1796). The paper analyzes how magic is utilized in both novels in developing the characters of the protagonist as they descend and succumb to their worldly needs and desires. Magic is discussed as a force that led to Manfred and Ambrosio?s downfall in ?The Castle of Otranto? and ?The Monk,? respectively. Passages from both novels are included in the paper.
From the Paper
"While magic is used as a useful force in ?The Castle of Otranto,? magic is used as a force of evil in ?The Monk.? Magic and its use in the novel become apparent in the last chapter of the novel, wherein Ambrosio and Matilda are being persecuted by their society and the Church because of the sinful acts they have committed. Ambrosio, as the main character in the story, is portrayed initially as a ?saintly? monk, and Lewis illustrates him as a man who ??has never been known to transgress a single rule of his order; The smallest stain is not to be discovered upon his character; and He is reported to be so strict an observer of Chastity, that He knows not in what consists the difference of Man and Woman. The common People therefore esteem him to be a Saint.?? This passage is an important revelation to the readers, since in the latter part of the novel, the readers will become acquainted with the sudden changes in Ambrosio?s character as he becomes immersed in his sinfulness and worldly needs and desires."
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Shakespeare: Magic and the Supernatural, 2006.
This paper highlights the magic and supernatural themes present in Shakespeare's "A Mid-Summer Nights Dream", "Hamlet" and "The Winter's Tale".
860 words (approx. 3.4 pages), 0 sources, $ 30.95
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Abstract
The author emphasizes the ideas of magic, fairies and ghosts that lie, sometimes hidden, in the works of Shakespeare. In "A Mid-Summer Nights Dream" the main theme is that of magic, with fairies; in "Hamlet" the theme is ghostly apparitions, whilst "The Winter's Tale" is full of the supernatural in many different forms. The author points out that these plays continue to appeal to many people in many different cultures, perhaps because of the various themes and ideas related to magic and the supernatural.
From the Paper
"In A Mid-Summer Nights Dream, Shakespeare utilizes many themes and symbols, yet the most predominant theme is that of magic, especially in relation to fairies and other supernatural beings. The play itself was written to celebrate a marriage, perhaps for a private performance at a great estate or possibly at court, and it must be remembered that fairies dominate all aspects of this play, a possible reflection on the Elizabethan penchant for fairies in relation to weddings. The plotline in this play is actually three, one layered upon another, the first being Theseus and the four lovers, the second, the silliness of Bottom and his friends, and lastly, the fairy plot. In this play, there are "songs" or slices of poetry that allude to Robin Goodfellow, a fairy from Oberon, where ghosts abound and where the King and Queen of fairies sing and dance in the moonlight. These fairies are also artificers and creators of illusion and use strange ointments and pranks to make their powers known to all. Thus, the function of the fairies in this play is to create the illusion of magic, something that was quite important in any Elizabethan wedding ceremony, especially when taking place in the dim and dark forest just outside of the palace at Athens."
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Magic Realism, 2002.
A discussion the magic realism literary style of Cristina Garcia's novel "Dreaming in Cuba".
1,575 words (approx. 6.3 pages), 2 sources, $ 55.95
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Abstract
Discusses the magic realism literary style of Cristina Garcia's novel DREAMING IN CUBA. Traces concept of magic realist to Cuba and Cuban novelist Alejo Carpentier. Critical review of characters, and their interaction in Cuba and New York. Themes of family, politics, love, dreams, visions, memory. Author's attitude toward magic realism.
From the Paper
"It is altogether fitting that Cristina Garcia should plunge us into a world defined by the always shifting definitions of the world of magical realism, for Garcia?s books are essentially Cuban, and the concept of magical realism itself was born in Cuba. Although this style of writing is perhaps best known through the work of Argentine writers like Jorge Luis Borges, the term itself and the literary style that this sometimes elusive phrase refers to were the children of Cuban novelist Alejo Carpentier. Carpentier was seeking for a literary style (and concept) broad enough to accommodate both the events of everyday life as he saw it unfolding before him in the years after World War II in Cuba and the fabulous nature of Latin American geography and history (Zamora and Faris, 1995, p. 36).
Carpentier?s ideas about the kind of writing that could span such..."
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The Concept of Magic, 2006.
This paper discusses Robertson Davies' novel that portrays a world of magical realism.
1,350 words (approx. 5.4 pages), 5 sources, $ 53.95
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Abstract
The paper illustrates how Robertson Davies created a novel that was engulfed in memories of his childhood and that focused on the magic that exists in life in many ways. The paper looks at how Davies allowed the characters of Fifth Business to examine the magic of religion, the belief in saints, the concept of magic itself and the spiritual belief that each individual has a clear role to play throughout life.
From the Paper
"His main character, Dunstan, serves as a guide for the novel, because it is through this character that the reader is capable of comparing fantasy to reality, and entering the world that Davis has created. Wendy Faris and Lois Zamora contend that this element is important to magical realism because the author constructs his world in such a way that regardless of how unbelievable the world may be outside of the book, within the book it possesses perfect logic to the reader."
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Magical Realism, 2004.
A comparative analysis of the magical realism of Isabelle Allende?s "The House of the Spirits" and Garcia Marquez?s "One Hundred Years of Solitude".
2,927 words (approx. 11.7 pages), 6 sources, MLA, $ 86.95
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Abstract
This paper examines different definitions of magical realism in literature and, in particular, compares and contrasts the magic realism aspects of Isabelle Allende?s "The House of the Spirits" and Garcia Marquez's "One Hundred Years of Solitude". The books are analyzed within the context of plot, setting, characters, style, and narrative structure. It shows how Garcia Marquez takes his themes and his use of devices to explore these themes to such exquisite heights that the comparison between the two books is really an unfair one and how there really is no comparison between the masterpiece of Garcia Marquez, and Allende?s rather one-dimensional, poor attempt at magic realism.
From the Paper
"Bell-Villada (2002) acknowledges that magic realism is not an original construct of Garcia Marquez, that, rather, it came from Kafka (Garcia Marquez continually acknowledges the great impact The Metamorphosis had on his writing), and from Faulkner, and that Garcia Marquez took the ideas from these authors, and built on them to give the world his complex, enchanting magic realist masterpiece. This view, of Bell-Villada (2002), differs from the euro-centric view of Zamora and Faris? (1995) book Magic Realism: Theory, History and Community, by putting Garcia-Marquez?s achievement in its rightful place as the masterpiece of magic realist fiction, rather than downplaying this achievement, through analysis, interpretation and presentation of worldwide, magic realist texts (such as those by Toni Morrison, and Rushdie, most of which were written post-One Hundred Years of Solitude)."
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The Magical Tempest, 2002.
A look at the topic of magic in Shakespeare's "The Tempest".
890 words (approx. 3.6 pages), 0 sources, $ 31.95
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Abstract
This essay is about the theme of magic in the Shakesparean play, "The Tempest". The writer provides a short summary of the play and quotes lines which show how the power of magic influenced developments in the plot.
From the Paper
"Prospero was the legal duke of Milan. His brother, Antonio, stole his title and banished him and his daughter, Miranda, from Milan. While in exile, on an isolated island, he harnessed powers of magic for he was a great lover of arts and in particular, magic. Prospero was a very powerful man and by using his spell books, he was able to summon mighty magic. The most powerful creature he controls is Ariel who aids him in executing some of his magic spells."
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Magic and Religion, 2005.
This paper discusses magic and religion in Egypt during the Roman period.
1,350 words (approx. 5.4 pages), 3 sources, $ 53.95
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Abstract
The paper looks at magic and religion in Roman Egypt. In general, the paper explores religion in Roman Egypt. It looks at how Rome was a multi-religious empire and the Egyptians tended to use a lot of magic in religion. The paper explains how Christianity combined with the Egyptian religion to create the Coptic religion.
From the Paper
"The Roman Empire was one of the greatest empires of the ancient world. According to Chris Brazier in "The No-Nonsense Guide to World History," "From about 275 BC to 50 AD Rome created a massive empire that included the Mediterranean region, most of Europe and parts of the Middle East" (Brazier 35). As this empire expanded it encountered countless cultures that were eventually assimilated into the Empire. Although these cultures were conquered they did not cease to exist. The cultures continued to survive within the Roman Empire, they were just somewhat repressed."
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Magic and Macbeth, 2005.
This paper studies the concept of black magic in "Macbeth" by William Shakespeare.
675 words (approx. 2.7 pages), 0 sources, $ 26.95
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Abstract
The paper examines how black magic is the sole representative of the lines analyzed in this study, which reflect the reliance on the three witches that Macbeth relied upon in depicting his destiny. The paper shows how through Macbeth's ignorance and greed, he was unable to counteract the messages given by the witches, which ultimately brought about his tragic and violent death. The paper demonstrates how black magic plays a large part in the destiny of Macbeth's fate, as seen through the rituals and actions on the three witches in the beginning of Act Four.
From the Paper
"In Act Four, scene i, the three witches are brewing the desired ingredients to help create the foundations for a black magic process that will give Macbeth the answers he is looking for in his destiny. Through the play, especially in Act III, the basis of black magic and the various formulas are revealed in the language of the text. The precepts of magic are defined in the language Shakespeare used to define this process. The First Witch claims: "Round about the cauldron go/ In the poison'd entrails throw" (Shakespeare 4.1 4-5). The dancing shamanic actions of the women in Shakespeare's imagery help one to realize the movement and ritual that is the process of creating a vision through the burning cauldron at their feet."
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?The Magic Mountain?, 2005.
Explores Thomas Mann's play, "The Magic Mountain" about the forces of thought imposed upon the people of early twentieth century Europe.
1,541 words (approx. 6.2 pages), 1 source, MLA, $ 50.95
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Abstract
In his play, "Magic Mountain", Thomas Mann expresses the intellectual squalor of the pre-World War I era, that would inevitably lead to violence and destruction. The central protagonist of the tale is a young marine engineer who, taken singularly, is of no particular importance. The paper shows that what makes him-Hans Castorp -significant is what he represents for society: he is the embodiment of humanity, caught between the forces poised to crush individual identity and reduce it to mass conformity. The paper shows that, all together, these forces of thought, to Mann, are mere derivatives of nature, which act to shape each person's mind into a particular archetype. In this way, "The Magic Mountain" is a universal warning to the course of history and of the dangerous capacity of unbound rationality.
From the Paper
"Personally, Castorp comes from a reasonably wealthy bourgeoisie family; and although his parents have both died, he remains well positioned and is "obviously on the way to important positions in his life." (Mann, 54). Largely, this is also a consequence of his association with Hamburg-an emerging port city during the early twentieth century. Symbolically, Hamburg's rising prominence comes at the expense of other, older, and better established cities. Accordingly, Castorp's path to important positions rests on the shoulders of the new age: technologies and industrial might. Additionally, Castorp's occupation makes him poised to build Germany into a naval empire, which is also a drive of the new age. Naval dominance, as seen by many of his time, was the only true way to establish Germany's rightful place within the world."
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