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Essays on labyrinth
Mental health in literature
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A labyrinth is a maze or complex system of paths or tunnels in which it is easy to get lost. Sometimes labyrinth is where someone is suffering about something or feels like they are in the wrongdoings of something or having the wrong things happen to you or say for pain. A labyrinth can cause some people to feel like they are in the wrong by blaming themselves for something they haven't done. In looking for Alaska as we all know that she blamed herself for the death of her mother because it's like she went into a parallelization stage and just froze and didn't call 911.People can feel like they are being trapped in a labyrinth by suffering in pain or feels as if there in the wrongdoings of something, As I was saying earlier Alaska was suffering in a labyrinth by blaming herself for her mothers death. She feels that she is the blame because she didn't call 911 and she thinks she let her Mother die. Alaska also suffered because she thinks she has let her Mother down more than once. Being stuck can feel like being trapped with nowhere to run, or even struggling. Being stuck in a dark place can be emotional. Being stuck comes with difficult emotions and also sometimes even strength. People can feel exhausted, frustrated and trapped in that dark place. …show more content…
So before Alaska dies she had forgot about her mother anniversary and she gets really upset and thinks she has “Failed her mother yet again.” The way Alaska dealt with a labyrinth is “Straight and Fast.” Alaska got out of her labyrinth by suicide as in the book they think she killed herself because she thinks she failed
The movie the Labyrinth tells a story about a group of unlikely heroes trying to make their way though a maze in order to defeat the Goblin King. The story starts out with the main character Sarah whom, without even realizing it, wishes her baby brother to be taken way by Jareth the Goblin King. He tells her that if she wants her brother back she will have to make her way through the labyrinth and to the castle beyond the Goblin City. She only has 13 hours to complete the seemingly impossible task or her little brother Toby will be turned into a goblin. While making her way through the twisted and endless maze Sarah runs into many weird characters. The first person she encounters is Hoggle a very untrustworthy dwarf whom is under the influence of Jareth. He is selfish and does things only if there is something for him to gain. He betrays Sarah many times throughout the movie, but in the end he proves himself to be more than a traitorous coward. Ludo is a yeti and despite looking vicious is a gentle and caring monster. Ludo also has the power to control rocks. Sir Didymis is a loudmouthed, but noble knight who displays his valor throughout the movie. The four heroes manage to fight their way through the perilous labyrinth. The Goblin King Jareth is defeated and Sarah’s brother Toby is saved. Though the characters in this movie seemed to be nothing more than ordinary, and if not odd, they fought their way through labyrinth and conquered an entire army of evil goblins and their king. (Labyrinth 1986)
Why is it that we as human beings feel the need to blame someone for every negative situation, which occurs? If we really look at the situation with any great depth, we may discover that an almost endless amount of things may be 'blamed' for the tragedy blaming an individual is pointless - only fate can really be blamed.
Pan’s Labyrinth (2006) written and directed by Guillermo del Toro is a dark fantasy film that uses fantasy and inspired true events of the after effects of the Spanish Civil War to create a symbolic parable that was influenced by fairy tales and myths. Even though this film is explicitly about the times during Franco it is also a film that can speak for any time period, past, present, and future. Through the use of phantasmagorical elements in the fantasy sequences del Toro uses doubling to reinforce the horrific events that have and can happen again in reality. The film takes place five years after the Spanish Civil War during Francisco Franco’s reign of terror. The story focuses on Ofelia (Ivana Baquero) as well as Ofelia’s evil stepfather, Captain Vidal (Sergi Lopez). Both characters represent something bigger than they actually are; Ofelia is seen to represent Spain and the antifascists whereas Captain Vidal represents Franco and fascism. Ofelia has to complete three daunting tasks given to her by the Faun (Doug Jones) that is said to reunite her with her family, the King and Queen of the Underworld. Del Toro uses doubling of the mythical realm with the ‘real world’ throughout the film that emphasizes the underlying meaning of the film. The film also follows the story of the anti-fascists rebels that are hidden amongst the trees and mountains. The character Mercedes (Maribel Verdu) is able to fool Captain Vidal for most of the film and help the rebels. It is not until the near end of the film where Captain Vidal realizes that Mercedes has been helping the rebels the entire time and it is due partly because of his misogyny that he is unable to see her as a threat to his cause.
Regardless of race, gender, or religion there are times when humans have internal battles with themselves, and are unable to perform actions. Such is showcased brilliantly throughout the novel The Battle of The Labyrinth written by Rick Riordan. The protagonists of the novel Percy, Annabeth, and Briares all face internal conflicts. All the internal conflicts of the protagonist’s stem from self-doubt, and questioning personal morals.
“Fear me,love me,do as I say,I’ll be your slave” says Jareth The Goblin King from the Labyrinth. By using irony, the author of a story can create a surprising events. Authors use multiple kinds of irony to make stories more surprising.
In Jim Henson’s Labyrinth the plot closely follows the narrative structure that is documented by Propp and described by Berger. Propp establishes a series of functions which all Russian fairy tales followed and which Berger finds easily applies to modern day narratives. When these functions are applied to Labyrinth, they fit easily into the movies story line. The protagonist, Sarah, is an adequate example of Propp’s hero with some gender norms reversed and Jareth fits into the archetype of the villain. Labyrinth presents an excellent example to Berger’s updated interpretation of Propp’s fairy tale theory of structure, while presenting important modernizations to the structure.
We all know that the creature did some wrong actions but who is really at fault? In the book Frankenstein by Mary Shelly there are many perspectives that are shown. Different factors all constitute into the creatures wrong doings which show that all three are to blame. Some can say it was the creatures fault himself, society, or Victor Frankenstein the creator. There are many different actors and can all be interpreted differently.
The film Pan’s Labyrinth, has several common concepts with Joseph Campbell’s theory on heroes in Hero with a Thousand Faces. His theory emphasizes on tests that show their moral and basic instincts for the rite of passage to their threshold, in this case, the underworld. Campbell’s theory is a concept that surrounds an individual’s journey to heroism. This concept pertains to Ophelia due to her circumstances as a child who ventures out on thresholds, tests, and so forth. Campbell’s depiction relates to Ophelia as he describes the levels in which one must attain and accept as a female heroine. Furthermore, his theory exaggerates on the making of a hero to the resurrection in terms of physical and spiritual transformation. Ophelia’s character depicts a hero who has been resurrected as a human. Thus, she begins her journey to cross the threshold, “pass from the everyday world in the world of adventure,” (Campbell). There are many stages in the film that depicts Ophelia’s introduction to the stages of being a hero. More so, it focuses on tasks, which Ophelia must pass or fail in order to determine her role in the film; Princess of the Underworld or just a human soul. This is lead by the faun who simply reassures a place of ‘paradise’ for Ophelia only with her cooperation to listen and follow her morals.
...f the bad that is going on in her real life, so she would have a happy place to live. With the collapse of her happy place her defense was gone and she had no protection from her insanity anymore. This caused all of her blocked out thoughts to swarm her mind and turn her completely insane. When the doctor found her, he tried to go in and help her. When the doctor finally got in he fainted because he had made so many positive changes with her and was utterly distressed when he found out that it was all for naught. This woman had made a safety net within her mind so that she would not have to deal with the reality of being in an insane asylum, but in the end everything failed and it seems that what she had been protecting herself from finally conquered her. She was then forced to succumb to her breakdown and realize that she was in the insane asylum for the long run.
In the title “In This Strange Labyrinth”, the labyrinth is symbolic of love’s maze-like qualities. The speaker describes her predicament by saying, “In this strange Labyrinth how shall I turn/Ways are on all sides” (1-2). A different path on every side surrounds her, and every way seems to be the wrong way. She is confused about which way she should go. Wroth is conveying the theme of love in a decidedly negative way, for according to myth, the Labyrinth was where the Minotaur lived and before it’s demise, death was evident for all visitors of the maze. The speaker is struggling with every choice she may make and cannot rest or find aid until she finds the best way: “Go forward, or stand still, or back retire;/ I must these doubts endure without allay/ Or help, but travail find for my best hire” (10-11). She has several choices and each one is confusing and leaves her feeling helpless.
With all the recent events that have occurred in Mabel’s life she truly believes that this is the end for herself; “mindless and persistent, she seemed in a sort of ecstasy to be coming nearer to her fulfillment, her own glorification, approaching her dead mother, who was glorified” (Lawrence 705). Mabel walks down to the cemetery where her mother lays at rest because Mabel is feeling alone and wants that sense of security. Mabel’s depression causes her to believe that “the life she follow[s] here in the world was far less real than the world of death she inherited from her mother” (Lawrence 706). All of these dark thoughts and memories of a life with her mother running through Mabel’s head lead to her finally giving up on her life and walking into a dreary pond to try to drown herself and end her life.
Borges often contemplated life and where man should find himself suitable in its situations. In “Death and the Compass”, detective Lonnrot works to solve a labyrinth that has been created for him through a series of murders. The labyrinth is considered the biggest secret in the short story. In the end the labyrinth proves to be worthless to Lonnrot. Borges strategically uses symbolism to prove his philosophy that, it is pointless to spend life endlessly searching through a “labyrinth” to find our purpose. Borges specified, “Man’s search for meaning in the world is a fruitless effort” (Borges). The idea of someone creating a series of murders that form a triangle with equidistant vertices is completely imaginary. It is a clear portrayal of Borges’ manipulation of fantasy to create alternate realisms. Borges’ varied literary methods in a single story help communicate his two life theories. Labyrinths and identity are consistent topics that transpire in Borges’ short stories. “In Death and the Compass”, as well as several other short stories, Borges depicts characters that use reason to create and solve labyrinths. This symbolizes that people create their own paths in life. The labyrinth in Borges’ stories plays many roles. It examines the idea that life is a riddle and at times can seem endless. In “Death and the Compass” Red Scharlach, a criminal ...
Labyrinth as a metaphor, a motif, and a typological design, is more expressively telling of the problematic nature of the metafictional writing. First of all, both labyrinth and metafiction have the same ontological dimension that reflects the mode and status of a troubled existence in the world and/or the text. Hence they are mutually conceived as representing the text of the world formula. As an existential metaphor, labyrinth shifts the existentialist dasein (being there in the world) into the textual dasein (being there in the text). Also, being either multi coursal or circular in design, it proves to be analogous to the de-teleological self-reflexive structure of metafictional narratives.
Additionally, the main character, Alaska, relates to the world because she is a girl that lives a hard life and is depressed on the inside, yet she still manages to have a smile on her face. Many people in the world are going through very hard times, however, they still manage to be happy or they try to give the appearance that they’re happy. Personally, I can relate to Alaska Young’s situation, after losing my grandma and uncle to illness a couple of months ago, I am faced with tremendous amounts of depression and deep sadness. However, on the outside, I tend to have a smile on my face and I don’t show others how I truly feel deep down on the inside. Alaska does this for a while and she slowly starts to feel as happy as she is on the outside, on the inside.
This image of the noir city as a labyrinth dominates the conceptualization of Christopher's book, and he defines his use of the word first by saying that the term labyrinth includes the actual physical maze of the city, with its streets, tunnels, and docks, its offices, apartments, and tenements [STILL]; second by evoking with the word a human condition in which the films' characters intersect and interact with complex plot twists, bound by enmeshments of time, space, and chance; and third, by examining the hero's inner workings, which are imaged as a corollary of the city's own inner workings: its politics, languages, cultural crosscurrents, sewers, and other networks and