ENG335 PURDUE Use Of Landscape In Adventures Of Pinocchio Research Paper Help you did write per essay for essay 2 (I will upload it)I will upload the essay

ENG335 PURDUE Use Of Landscape In Adventures Of Pinocchio Research Paper Help you did write per essay for essay 2 (I will upload it)I will upload the essay instruction I will be 5 pages and MLA styel Running head: ADVENTURES OF PINOCCHIO
Adventures of Pinocchio
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ADVENTURES OF PINOCCHIO
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Adventures of Pinocchio
The landscape aids the protagonist’s journey of finding his place in the human world. The
different landscapes created by the author help Pinocchio move from one state to another. The
landscape aids his efforts as he goes through different situations and circumstances in his journey.
Pinocchio, through the diverse landscapes, learns attributes and essential life lessons that help him
as a real boy. He goes through different trials and conflicts, which enable him to learn to become
a better boy. The diverse landscapes, such as his father’s house, the forest, and the seashores, help
him meet different people. The people he meets are crucial in his journey, and they all teach him
different lessons. Besides, they help guide him to his father’s position at the end and reconciles
with him.
There are different types of landscapes presented in the story. One of the landscapes is the
carpenter’s shop, where the piece of wood to create Pinocchio was first found. The second
landscape is Geppetto home, where Pinocchio is created and meets the talking cricket. The creation
aids in his journey of becoming a real boy and learns the virtue of respect from the talking cricket.
Besides, there is the theatre where Pinocchio sells the books his father bought for him to use in
school. He also meets the fire-eater who gives him the five gold pieces. “Here, take these five gold
pieces. Go, give them to him with my kindest regards.”(Chapter12 pg33) Another remarkable
landscape is the white house in the forest, where Pinocchio meets the blue fairy. The sea is another
landscape where the shark swallows Pinocchio and finally meets his father on the seashores.
The landscapes are instrumental in aiding Pinocchio’s journey into becoming a real boy.
Each landscape provided different opportunities, trials, conflicts, and lessons for Pinocchio, which
eventually shaped him to the boy he became. However, they were, to some extent, dangerous and
caused harm to the characters. The sea provided a dangerous landscape when the shark wallowed
ADVENTURES OF PINOCCHIO
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Pinocchio as he was searching for his father. Also, the forest when the robbers followed him and
wanted to kill him but were saved by his mother. Also, other instances were dangerous — for
example, the death of the talking cricket who was murdered by Pinocchio. Further, Pinocchio was
kicking his father Geppetto when he was curving him and led him to prison when he ran away
from his home.
The different landscapes are essential to Pinocchio, and each of them presents various
opportunities to him. The first landscape provided Pinocchio a chance to be noticed by the
carpenter and given to Geppetto ta make a marionette from it. In Geppetto’s house, Pinocchio finds
the talking cricket who teaches him essential values of life, such as respect and obedience
(chapter4, pg11). The forest where he discovers the white house presents an opportunity for him
to meet with azure hairy who is critical in saving him. She also became a mother figure that
Pinocchio needed in his transition from a marionette to a responsible boy. The death of the fairy
was also crucial in getting Pinocchio to look for his father and be as accountable as his father
wanted him to be. Finally, the sea provides an opportunity to meet with his father when he
swallowed by the shark.
One of the power relationships in the story is the relationship between Geppetto and the
carpenter master Marcos Cherry. The two are excellent friends, and despite involving in two fights,
they makeup and remain friends. The other relationship is between Geppetto and Pinocchio, who
are like family. Geppetto loves and takes care of Pinocchio despite his bad character and sacrifices
things he loves most for him.he accepted Pinocchio back after running away from home and
making him go to prison. Besides, he sold his overcoat to take Pinocchio to school to get him an
education and a better life. “He earns so much that he never has a penny in his pockets. Just think
ADVENTURES OF PINOCCHIO
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that, in order to buy me an A-B-C book for school, he had to sell the only coat he owned, a coat
so full of darns and patches that it was a pity.”(Chapter 12, pg33)
Moreover, Pinocchio and Azure hair have a power relationship, and the maiden does a lot
to help Pinocchio get a good character. She treats Pinocchio as her son. Further, she teaches
Pinocchio essential virtues, such as the importance of honesty and education. Her death plays an
important role in getting Pinocchio look for his father and be a better person. “Oh, my Fairy, my
dear, dear Fairy, why did you die? Why did I not die, who am so bad, instead of you, who are so
good? And my father—where can he be? Please dear Fairy, tell me where he is and I shall
never,never leave him again!”(Chapter 23, pg71).
In this case, the author has the power to control the landscape. He moves Pinocchio from
one landscape to another and creates a direction for him to follow. With his narration, we can
form the imagery in mind and visualize how it aids or gets in the way of the characters. The author
controls it by developing different roles in different landscapes. He creates diverse landscapes to
show how Pinocchio worked through the struggles he faced to become the boy he intended him to
be. Also, he portrays the characters with different characteristics and relationships in diverse
landscapes.
The landscapes presented in the novel are ideal in aiding the journey of Pinocchio. For
instance, it is perfect that Geppetto went to look for a piece of wood from master Cherry at a time
when he had noticed the piece of wood. Importantly he chooses the specific part of the wood to
give to Geppetto, which is ideal in starting the journey of Pinocchio. Further, the robbers directed
him to the forest, where he met the maiden who his mother and taught him how to be a responsible
parent. Also, the sea landscape is ideal as, through it, he was swallowed by the shark and eventually
ADVENTURES OF PINOCCHIO
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met his father. The author used the perfect landscape to creatively create a direction for Pinocchio
to follow in his journey and for the readers to visualize when reading.
The author uses descriptions to explain the behavior of Pinocchio after he curved hi into a
marionette. The imagery helps the reader visualize the situation and get into the fictional world.
He describes how the eyes stared at him and the stretching of the nose every time he curved it.
“Fancy his surprise when he noticed that these eyes moved and then stared fixedly at him.” (chapter
3,pg7). Further, he describes how Pinocchio took his wig from his head and wore it and started
kicking him with the wooden legs and eventually ran away. “As he was about to put the last touches
on the fingertips, Geppetto felt his wig being pulled off. He glanced up, and what did he see? His
yellow wig was in the Marionette’s hand. “Pinocchio, give me my wig!” (chapter 3,pg8).
The novel has incorporated spatial perspective through the way the author describes the
journey of Pinocchio. The author moves Pinocchio from one stage to another in a well-planned
process. The reader can vividly follow in the mission and engage in it throughout the story. The
landscapes created by the author aids the journey and enable the reader to understand the process
of the protagonist’s journey.
ADVENTURES OF PINOCCHIO
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Reference
Collodi, C. (1986). The adventures of Pinocchio: story of a puppet (Vol. 5). Univ of California
Press.
Reading and Mapping: Directions in Children’s Fantasy
Carol Billman
Children’s Literature Association Quarterly, 1982 Proceedings, pp. 40-46
(Article)
Published by Johns Hopkins University Press
DOI: https://doi.org/10.1353/chq.1982.0020
For additional information about this article
https://muse.jhu.edu/article/457705/summary
Access provided by University of Evansville (16 Feb 2018 16:30 GMT)
READING AND MAPPING:
DIRECTIONS IN CHILDREN’S FANTASY
Carol Billman
This is an exploratory essay about exploration — i.e., about finding
places and finding one’s place in fantastic stories written for children. It
will proceed along the lines my thinking has moved in the last few years as I
turned this topic over in my mind: from a consideration of illustration,
particularly the actual maps illustrators have often provided to help readers
visualize fantastic realms, to a discussion of the geographical boundaries
and shapes of these realms, on to what having a sense of place means to
children traveling to and in new fictional worlds, and, finally, to a hypothe-
sis about how mapping provides not simply a metaphor for what goes on in the
reading of fantastic fiction but also a working description of the actual
process by which young readers are encouraged to engage actively, to “play”
the genre of fantasy.
First, there are the maps themselves. In a sense, I suppose, all pictorial illustrations of fiction might be regarded as maps, or spatial glosses,
on the verbal texts they accompany. They often literally outline the characters and settings created in the text; and at least one illustrator has
commented on the act of illustrating in spatial terms. Maurice Sendak talks
about “find[ing] a space in the text” that he can fill pictorially (Selma
Lanes, The Art of Maurice Sendak) . There are, moreover, scores of maps
provided as accompaniments to fiction for children. To be sure, children’s
fantasy is not the only kind of literary world that has been mapped. J. B.
Posts ‘s compilation An Atlas of Fantasy includes maps, for example, of
Faulkner’s Yoknapatawpha , Trollope’s Barsetshire, and H. P. Lovecraft’s
Arkham that have been published alongside the texts. In fantasy for children
and adolescents, however, maps are virtually de rigueur: Tolkien’s Middle
Earth, Alexander’s Prydain, LeGuin’s Earthsea, Baum1 s Oz, Grahame’s River
Bank, Milne’s lands of Pooh, Lewis’s Narnia, Juster’s The Lands Beyond — all
have been charted and some re-charted by illustrators of the works, as have
been more mimetic but fundamentally akin realms like Stevenson’s Treasure
Island and Ransome’s Wild Cat Island and its environs.
Sometimes mappings of fictional realms are begged for within the texts
they serve. The subject matter of Jean Fritz’s Where do you think you’ re
going, Christopher Columbus? invites illustrator Margot Tomes to work in maps
of the fifteenth-century worlds Columbus discovers, an invitation she readily
accepts. (There are seven maps among her pictures that accompany Fritz’s
biography.) More to the point, authors often present their “subcreated”
realms in visual and specifically spatial terms.
In chapter seven of
Treasure Island, the narrator Jim Hawkins recounts how he, before setting
sail on the Hispaniola,
… brooded by the hour … over the map, all the details of
which I well remembered. Sitting by the fire in the housekeeper’s
room, I approached that island in my fancy from every possible
direction; I explored every acre of its surface; I climbed a
thousand times to the tall hill they call the Spy-glass, and from
the top enjoyed the most wonderful prospects. Sometimes the isle
was thick with savages, with whom Jwe fought, sometimes full of
dangerous animals that hunted us ; ….
In fact, this novel began as a map that Stevenson and his stepson Lloyd
Osbourne poured over in their own leisure time. In a later British island
fantasy, James Barrie’s narrator describes Neverland in a way that at once
encourages and stymies efforts to map it:
I don’t know whether you have ever seen a map of a person’s
mind. Doctors sometimes draw maps of other parts of you, and your
own map can become intensely interesting, but catch them trying to
draw a map of a child’s mind, which is not only confused, but keeps
going round all the time. There are zigzag lines on it, just like
your temperature on a card, and these are probably roads in the
island; for the Neverland is always more or less an island, with
astonishing splashes of colour here and there, and coral reefs and
rakish-looking craft in the offing, and savages and lonely lairs,
and gnomes who are mostly tailors, and caves through which a river
runs, and princes with six elder brothers, and a hut fast going to
decay, and one very small old lady with a hooked nose. It would be
an easy map if that were all; but there is also first day at school,
religion, fathers, the round pond, needlework, murders, hangings,
verbs that take the dative, chocolate-pudding day, getting into
braces, say ninety-nine, threepence for pulling out your tooth
yourself, and so on; and either these are part of the island or
they are another map showing through, and it is all rather confusing, especially as nothing will stand still.
Even time fantasies, which we might presume would by definition have less to
do with visual guides than fantasies about other places, can rely on maps —
e.g., the chart that made time travel possible for the boy and his companion
dwarfs in Terry Gilliam’s recent film Time Bandits . (Spatial form is the
perceptual basis of our understanding of time, Rudolf Arnheim has argued in
“Space as an Image of Time” in Images of Romanticism, ed. Karl Kroeber and
William Walling.)
It is also noteworthy that so many writers of children’ s fantasy — even
if they do not actually give such attention to mapping as the authors cited
above do — do provide directions that link the worlds they create with the
“here and now.” As Woody Allen once quipped, there is no question that other
worlds exist, it is merely a matter of how far they are from midtown and how
41
late they are open.
Protagonists in stories for children usually move from
their mundane existences in this realm to other places according to directives
carefully supplied by their creators. They go “outside over there”; down the
rabbit hole; past a phantom tollbooth; into a giant peach or a midnight
garden; through a wardrobe, a looking-glass, or a wrinkle in time.
in transporting Max to his animal kingdom, describes
temporal and spatial terms: from his bedroom the boy
night and day and in and out of weeks and almost over
wild things are.” In similar fashion, Peter Pan tells
Sendak,
the journey in both
“sailed off through
a year to where the
the Darling children
he lives “second [star] to the right … and then straight on till morning.”
Or, to return to Stevenson, his persona1 s panoramic viewpoint in “Foreign
Lands”
from A
Child’ s
Garden
of
Verses allows him to connect this world
with a magical land:
Up into the cherry tree
Who should climb but little me?
I held the trunk with both my hands
And looked abroad on foreign lands.
I saw the next door garden lie,
Adorned with flowers, before my eye,
And many pleasant places more
That I have never seen before.
I saw the dimpling river pass
And be the sky’s blue looking-glass;
The dusty roads go up and down
With people tramping into town.
If I could find a higher tree
Farther and farther I should see,
To where the grown-up river slips
Into the sea among the ships ,
To where the roads on either hand
Lead onward into fairy land,
Where all the children dine at five,
And all the playthings come alive.
Once having reached Elfland from Poughkeepsie, to twist Ursula LeGuin’s
phrase, protagonists typically work throughout the course of the story to
learn the lay of the land. They are often aided in this quest, which is
literally a journey in most instances, by the topography of the worlds they
have entered. If they are on an island or in a garden, and often they are,
they at least know the realm has boundaries or limits; the same is true on a
chess board or in a circumscribed place in the forest called Terabithia.
Also a sense of definition can be supplied by the onlooker’s perspective on
terra incognita, e.g., the persona1 s bird’s-eye view in the Stevenson poem I
just read, or its companion story-poem “The Land of Counterpane,” similar to
Dorothy’s vantage point when she or her co-travelers come upon the miniature
China Country within Oz. (Another study could well consider the matter of
scale and its relationship to spatial perspective in works of fantasy like
Gulliver’ s Travels and Alice in Wonderland. )
42
If
such
larger views
are
not
forthcoming
to
protagonists
within
children’s fantasy, there are for readers the visual aids I am talking about,
maps.
Certainly any illustration can help a reader get his bearings vis-a-vis
the new and fantastic realm he encounters. I think, for example, of Arthur
Rackham’s gossamer pictures that accompany Barrie’s Peter Pan in Kensington
Gardens of the fairy world existing in the root structures of the flowers and
trees in the garden. This view helps readers of the story square the adjacent
and simultaneous existences of “real” and fairy realms. Maps are especially
effective aids for readers, for obviously they provide not, as in the Rackham
illustrations, a close-up or cross section of the world of the book, but an
overview that puts the reader in the ascendant position of Stevenson’ s child
in the cherry tree. Like the makers of the worlds mapped out, they can have
a sense of the whole.
At bottom, the impulse to map, or consult a map, is a manifestation of
humans — be they authors, illustrators, or readers or wayfarers in life
beyond the book — a rage for knowledge and order. We give directions about
how to get there from here, and we map unknown realms (the North Pole and the
brain along with imagined lands east of the sun and west of the moon) to
reduce the mysterious to size and to determine our place in the foreign land.
Finding one’s place in a world or in a book is what I want to turn to now,
for this task is, I suggest, fundamental when children read or hear stories.
In other ways — like readers of all ages — they find their places metaphorically. At the level of story or narrative they respond to suspense, clues,
conflicts and accordingly develop hunches about further turns of events and
about resolutions. Regarding characterization, children learn what can, and
cannot, be predicted about characters’ actions and come to form judgments
about what kind of people they are. It is in coming to terms with place —
that is, by mapping — that they not only accept the universe created in the
story but also master it by virtue of developing a sense of direction allowing
them to move within it.
First, a few comments on the significance of place. Place, it has been
noted by phenomenologist Gaston Bachelard, is exceedingly important to
mankind: the coziness of small places like nests and drawers and closets is
his subject in The Poetics of Space. Departing from his arguments, Lois
Kuznets has persuasively shown the nurture offered by familiar places to
characters in children’s literature, particularly the animal homes in
Grahame’s The Wind in the Willows.
In fact, the dulce domum theme is, while
not a constant, a common theme in much children’s fantasy. The last lines of
L. Frank Baum’ s The Wonderful Wizard of Oz are: “And oh, Aunt Em! I’m so
glad to be at home again!” In Peter Pan, the dark side of Peter’s seemingly
wonderful exile in Neverland is underscored when Peter reveals “what he had
hitherto concealed,” that he has no home to return to since his mother barred
the windows of his nursery. Structurally as well as thematically children’s
fantasy is often built around the homecoming, either a circular scheme in
which travelers to foreign lands return renewed to London or Kansas or their
own bedrooms or a series of visitations to characters’ homes as in the worlds
created by Grahame or Milne.
More broadly, I urge that becoming familiar
with the fantastic land is the consolation that awaits observant travelers/
readers in these worlds. A sense of place is no small achiev…
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