As expected, we have a finale project at the end of the semester in which we are supposed to present. For myself, I have decided to discuss the dynamics between Morgoth and Sauron, primarily their roles as Dark Lords. The presentation within itself is to explore the differences between their approach and ultimately strive to answer the question— could it be argued that one is more dangerous than the other? But as we are evidently shown throughout the legendarium, Sauron was no master of war.
While the Grimm Brothers' fairy tale Hansel and Gretel is legendary, it's a somewhat vague tale, suitable for each generation to adapt the symbols and metaphors to its own needs, thereby making it a timeless story for all the entire story is quite short and can be found in its entirety at this link.
The original collection of tales were published inbut Hansel and Gretel probably originated during medieval times. Due to the violent nature of some stories, changes were often made to the original publications the Grimms tended to keep everything as they heard it from the oral tales they collected, believing their was more merit in the uncensored versionresulting in confusion: So, what does the story mean?
There are endless possibilities and we will explore several of them including feminism, Marxism, psychoanalysis, deconstruction, iconography and spirituality.
Hansel gathering pebbles by moonlight. As always, numerous interpretations of any art work are possible, with all being equally valid but the interpretation which can account for the greatest amount of the story proves the most fruitful. In this part of the story illustrated above, for example, a Marxist might demonstrate how the father symbolizes the "fatherland" and the mother might be the culture whereas Hansel and Gretel are the proletarians, the working class, being starved by the incompetent rulers which have failed to provide for the lower-classes.
Hansel and Gretel hearing their parents talking because they couldn't "sleep for hunger" might be understood by a Marxist as the political awakening of the middle-class workers, brought on by tragedy hunger and the lack of concern of rulers for those beneath them socially. That Hansel's and Gretel's adaptability throughout the story demonstrates the superiority of the workers to make their own decisions and control their own destinies by controlling wealth the riches they get from the candy cottage.
On the other hand, a feminist would most likely focus on the "unwanted children" and the father's incompetency: The witch in the candy cottage reveals society's bias against women because the woman is obviously successful in having everything she needs and not being forced into marriage or having children against her will, and labeling her a witch brainwashes young women such as Gretel into fearing having a mind of her own, exploring her sexuality and living an independent life free of male domination.
A feminist might continue her argument that far from wanting to eat the children, the witch wants to liberate the children through education, but the male-dominated society fears the "dark mystery of womanhood" symbolized by the forest the witch lives in so turns the witch instead into a cannibal, establishing feminism as a taboo for other, impressionable females such as Gretel that, if feminists unnatural women like the witch are going to eat Hansel and undermine male authority, the feminists will eat the Gretels, too, but if Gretel wants to be protected and provided for, then she has to reject the self-sufficient life the witch presents and that's done by rejecting sexual freedom the witch's oven as a sexual symbol: I don't agree with these interpretations, however, they are valid, and that's why art shows us who we are and what we believe, we tend to project our universe onto the art which reflects it back to us so we can see ourselves.
As mentioned, the original story of Hansel and Gretel probably started sometime in the Middle Ages, when famines were frequent, thereby suggesting the cannibalistic story might have been a cathartic release for what some parents had done during extreme circumstances; while such an explanation indeed explains taboo behavior cannibalism it fails in accounting for the continued popularity of the tale beyond that historical time and into today.
Certainly catharsis is always one possible impetus for artistic creation; primarily, however, fairy tales serve as encoded secular morals to the world much like Christ employed parables for His followers. Fairy tales explain why we don't steal, why you don't engage in sexual relations outside of marriage, why you don't cheat people, why patience is such a virtue, etc.
By examining the structure of Hansel and Gretel, therefore, we should find behavior that we can condemn and behavior we can exonerate. Another paradigm for interpretation is the sexual awakening of Hansel and Gretel trying to overcome their sexual inhibitions. Far from hearing their parents "talking," a psychoanalyst might say, the children actually hear their parents engaging in sexual intercourse at night which awakens their own sexual appetites and that hunger for sex is what keeps the children awake.
The famine, or hunger, is everyone's starving libido, not a physical hunger for food. The trail of pebbles and crumbs Hansel leaves behind actually symbolizes his sperm which he comes to realize he has in the forest surrounded by the towering phallic structures of the trees the cat Hansel sees is Hansel seeing his sister as a sexual object.
Hansel and Gretel, in other words, "lose themselves" in the ecstasy of sexual delight through incest, the most taboo of society's sexual laws. The siblings "finding their way back home" means they willingly suppress their libidos to return to the acceptable sexual practices of sexuality.
But "hunger" for sex comes again when they hear their parents "talking" again having sex in the next room.
The second time in the forest, however, the siblings engage in oral sex because they are "eating" together; the bird Hansel saw before leaving the house indicates sexual freedom, the the bird not being bound to earth and Hansel not being bound by society and that's why the birds eat his bread crumbs because that's illuminating his sperm being consumed by Gretel and then he consumes her bread meaning he reciprocates because bread is baked in an oven and the oven is a symbol of female sexuality.
On one hand, the children are upset because they know they are losing themselves in the dark forest of dark sexuality, but they also "can't find their way back" to the socially accepted limitations of sexual experience.
The candy cottage, then, becomes a Garden of Eden of sexual delights because the house symbolizes the body a psychoanalyst would argue and that everything is edible on the house reveals how every part of the human body can be used for sexual stimulation.
The witch, with her crutches sex toys is what society posits as lurking behind this fantasy of utter sexual freedom. The slavery Hansel and Gretel experience in the candy cottage is the reality of sexual excess like the excessive amount of candy on the cottage society wants to communicate to youth: Gretel pushing the witch into the oven symbolizes Gretel "being in heat"and the heat of sexual lust not being hot enough to want to choose that life of licentiousness for herself which is why she can kill the witch because she has chosen to free herself of sexual desire.
Hansel, then, can only be freed by a woman who has freed herself from sex Gretel. When Gretel frees Hansel from the cage, they dance "and kiss each other," because now, this doesn't risk incest because they have learned their lesson.
The gems the children gather further illustrates their new found "sexual education" because Hansel 'thrusting" the gems into his pockets puts the gems next to his genitals, meaning that he now has a greater value for his sexuality and won't waste it; likewise, Gretel putting gems in her pinafore like a little apron worn over the dress puts the gems next to her breasts so she won't waste her sexuality either.
Ducks mate for life, and Gretel going across the pond on the duck, then Hansel going across the pond, symbolizes that each sibling will get married in their turn and their own taboo relationship will have to end because a marriage won't be able to "support" the sexual drives of the spouse and the sibling.
We could, for example, deconstruct the story by locating inherent instability: The witch uses her house as a bait for hungry children. The father likens "sharing" with eating the last loaf with his children and Gretel shares her last piece of bread with Hansel while Hansel gives Gretel "food for thought" in telling her to be comforted, God will take care of them; of course, the whole story starts because there isn't "enough to eat.
use the following search parameters to narrow your results: subreddit:subreddit find submissions in "subreddit" author:username find submissions by "username" site:yunusemremert.com fin. The Hobbit films are necessarily as much or more about Thorin than Bilbo. While Thorin may not be as charismatic as Aragorn or as heartwarming as Frodo, he is an unforgettable and valuable protagonist in this reimagined Middle Earth saga. Anyway, even if it was said by a character, Tolkien would be simply giving us a term that we are familiar with,Yes, but Bilbo's the point of view character, and therefore Bilbo's knowledge is his "gold standard" for explaining all that happens in the book.
What about the two animals Hansel claims he sees as he leaves his trails both times? The cat might be an apt symbol for Hansel himself: Likewise, Hansel and Gretel having to be fed is not a liability, rather, the children are a blessing because it allows the father's faith to be tested which he fails by twice agreeing to let the children die to save he and his wife but Hansel and Gretel surviving their trials of faith brings blessings upon the house.
The bird Hansel sees the second time they leave the house is probably invoking the Holy Spirit, the Comforter. When Jesus was baptized, the Holy Spirit descended upon Him in the form of a dove; as Hansel leaves his father's house and sees the bird, it's like, again, he sees an image of himself.
He is not burdened with fear or worry because he believes God will take care of them and the bread crumbs will lead them back home, so his soul takes the form of a bird.At the start of "Fellowship of the Ring," Bilbo Baggins still has possession of the powerful “One Ring,” found on an adventure 60 years earlier in Tolkien’s book, “The Hobbit.”.
Jun 11, · Bilbo in J.R.R. Tolkien's The Lord of the Ring, The Hobbit ( video game): Bilbo Baggins is the main character of the game. Together with his companion, Bilbo is present in Rivendell, where players can discuss with him various topics at different stages of the story.
An analysis of bilbo baggins different traits in the hobbit by jrr tolkien tyrannous and algological Zachery the nomadic casals inhumanizes or thaw motionless. an analysis of the foreign bodies by hwee hwee tan Type or paste.
Jan 31, · Gingerbread Temptations: Analysis of the Grimm Brothers' Hansel & Gretel the traits of the narrative people think of first, is for the gingerbread house [a house The last issue is the theme of "There and back again," as JRR Tolkien calls it.
Just as Bilbo Baggins is led away from The Shire on an adventure in The. Hobbits first appeared in the novel The Hobbit, whose titular hobbit is the protagonist, Bilbo Baggins. The novel The Lord of the Rings includes more hobbits as major characters, Frodo Baggins, though with a different meaning).
Tolkien's concept of hobbits, in turn. Hobbits first appeared in the J. R. R. Tolkien novel, The Hobbit, in which the main protagonist, Bilbo Baggins, is a hobbit. The main protagonist of The Lord of the Rings, Frodo Baggins, is a hobbit, as are his friends and co-protagonists, Samwise Gamgee, Peregrin Took and Meriadoc Brandybuck.