3FUNCTIONAL ANALYSES OF PERSONALITY IN ENGLISH
LITERATURE
Sokhila Aminova
A teacher at Chirchik State Pedagogical University E-mail: sohilaaminova@ gmail. com
ABSTRACT
The author examines the fusion of magical elements and reality in storytelling, specifically focusing on the presence of magic in works such as "Harry Potter" and "Percy Jackson & the Olympians." The article also discusses the analysis of fairy tales and their connection to real-life examples, highlighting medical conditions that could explain fantastical elements. Furthermore, the author discusses the concept of a "magic mirror" in literature and its modern-day counterpart in technology. The article concludes with a discussion on the difference between fantasy and magic realism and their portrayal in the Harry Potter series. Overall, the article provides insights into the use of magic realism in literature and its connection to reality.
Keywords. Functional Analyses, Personality, English Literature, Magic Realism, Fantasy, Fairy Tales, Realistic Elements, Harry Potter, Percy Jackson, Fairy Tale Interpretations, Medical Conditions, Werewolf Syndrome, Epidermodysplasia Verruciformis, Meningitis, Listeria Monocytogenes, Magic Mirror, Siri, Information Hub, Reality, Empathy, Literary Realism, Artistic Representation, Perception, Magic Realism in Harry Potter.
INTRODUCTION
Literature has always been an attractive media to illustrate wide ranges of representation of life; whether it is in written or oral form. Many authors often relate their or others' experiences in real life while writing their works. Moreover, some may also add fantasy elements in their works that aim to simply draw the reader's attention or even serve as a symbolism of particular things in real life. The fantasy element which is frequently used by the author in developing their work is the existence of 'magic'. Nowadays, the use of magic has become a trend in many fantasy literary works, such as in Harry Potter and Percy Jackson & the Olympian series. However, there are some literary works whose theme is placed in between the fantasy, particularly 'magic', and reality. So that, the authors put in magical elements in their work and blend it naturally with the reality of life; this kind of writing is known as magic realism. Magic realism can be define as a literary genre which
April 23-24, 2024
463
focusing itself in the fusion of magical elements and reality in order to construct the story. According to Srikanth (2014), magic realism is a combination of fantasy and reality in which the magical elements rise in the story blend naturally with the reality portrayed. The main feature of this genre is that the presence of the magical element can't be explained in our ordinary world but the magical things really happen.
METHODOLOGY
We analysed same fairy tales represents reality and real-life examples of fairy tales coming true.
"Red Riding Hood"( Brothers Grimm version )is a fairy tale about a girl in a cloak and hood .The fairy-tale world sports several examples of werewolf like creatures, such as Beast from "Beauty and the Beast" or the wolf in some interpretations of "Little Red Riding Hood." But these fearsome wolf-men may have just been hapless victims of a striking medical condition. Hypertrichosis, known colloquially as "werewolf syndrome," is defined by an excessive amount of hair, either all over the body or just in certain areas. Sometimes a person is born hairy because a rare genetic mutation; other times, a person acquires hypertrichosis later in life as a side effect of certain drugs and chemicals, or even some cancers.
" Pinocchio" originally carved from wood, Pinocchio became a real boy with the help of magic. In ABC's fairy-tale drama "Once Upon a Time," we see the opposite happen: Pinocchio, now a grown man in the magic-free real world, begins turning back into wood. This occurrence, of course, is nonsense — that is, unless Pinocchio had Epidermodysplasia verruciformis, a rare genetic skin disorder marked by a high risk of skin carcinoma. The immune deficiency can leave people highly susceptible to various types of the human papillomavirus, including ones that cause tough, barklike warts. In 2008, Indonesia's Dede Koswara stunned the world with the barklike growths that sprouted from his hands and feet. His affliction, doctors determined, was caused by a combination of epidermodysplasia verruciformis and the HPV-2 virus. The virus hijacked Koswara's skin cells, causing them to produce an elevated amount of keratin, the fibrous protein responsible for hair, hoofs and horns. With Koswara's weakened immune system, the keratin warts grew out of control, forming the dense, gnarled growths that earned him the moniker, "Treeman.".
In "Snow White," the princess bites an apple and falls into a deathlike coma, only to be awoken by true love's kiss (in later versions of the tale). There is a simple explanation for Snow White's slumber: bacteria.
RESULTS
Listeria monocytegenesis a rod-shape bacterium that resides in a variety of food, including apples. "It causes meningitis and often enough confusion and stupor
April 23-24, 2024
464
to the point of coma," Dr. George Thompson, an assistant professor of medicine at the University of California, Davis, told Live Science in an email. It might, however, take a little more than a kiss to awaken someone from a meningitis-induced coma, unless that kiss is somehow imbued with a hefty dose of antibiotics. But perhaps true love's kiss really can do the trick. In 2009, a woman in England suffered a heart attack and fell into a coma. She began to stir two weeks later only when her husband pleaded her for a kiss— she apparently obliged by turning her head and puckering up, according to the Daily Mail.
The Magic Mirror boasts remarkable abilities, which vary depending on the tale. In "Snow White," the mirror is a purveyor of knowledge, answering any question as truthfully as possible (though the only question the vain Queen cares to asks is, "Who is the fairest one of them all?"). In "The Magic Mirror" by Aleksandr Afanas'ev, the Russian counterpart to the Brothers Grimm, the enchanted item had a similar ability and could also show you real-time images of any place you wished. Technology has given us our own little magic mirror: Siri, the iPhone's souped-up personal assistant. If asked, Siri, which draws its knowledge by accessing the Internet, will tell you who's the fairest of them all (you, in most cases), show you images of places, people or things, or try to answer any other question you pose. DISCUSSION
Some developers are now trying to turn large mirrors into information hubs. The New York Times R&D Lab, for example, is working on a "magic mirror" reflective screen that allows you to browse NYT's news articles and videos, as well as schedule events in your personal calendar, shop online and exchange messages with other magic mirrors in your household.
Yes we know that fantasy shows us exciting new worlds, but reality connects us to basic concepts of understanding and empathy.
The Harry Potter story contains features of magic realism as well. What is the difference between the fantasy and magic realism? How is a magic realism reflected in the story? This paper outlines the definition and comparison of the two genres and illustrates the presence of the magic realism in Harry Potter and the Philosopher's Stone. Fantasy vs Magic Realism "There are many attempts to define fantasy, not only as a genre. Literary realism is part of the realist art movement beginning with mid-nineteenth-century French literature (Stendhal), and Russian literature (Alexander Pushkin) and extending to the late nineteenth and early twentieth century. Literary realism attempts to represent familiar things as they are. Realist authors chose to depict everyday and banal activities and experiences, instead of using a romanticized or similarly stylized presentation.
April 23-24, 2024
465
In the Introduction to The Human Comedy (1842) Balzac "claims that poetic creation and scientific creation are closely related activities, manifesting the tendency of realists towards taking over scientific methods. The artists of realism used the achievements of contemporary science, the strictness and precision of the scientific method, in order to understand reality. The positivist spirit in science presupposes feeling contempt towards metaphysics, the cult of the fact, experiment and proof, confidence in science and the progress that it brings, as well as striving to give a scientific form to studying social and moral phenomena." Realism as a movement in literature was a post-1848 phenomenon, according to its first theorist Jules-Fra^ais Champfleury. It aims to reproduce "objective reality", and focused on showing everyday, quotidian activities and life, primarily among the middle or lower class society, without romantic idealization or dramatization. It may be regarded as the general attempt to depict subjects as they are considered to exist in third person objective reality, without embellishment or interpretation and "in accordance with secular, empirical rules."[6] As such, the approach inherently implies a belief that such reality is ontologically independent of man's conceptual schemes, linguistic practices and beliefs, and thus can be known (or knowable) to the artist, who can in turn represent this 'reality' faithfully. As literary critic Ian Watt states in The Rise of the Novel, modern realism "begins from the position that truth can be discovered by the individual through the senses" and as such "it has its origins in Descartes and Locke, and received its first full formulation by Thomas Reid in the middle of the eighteenth century."
The form of magic realism offers an ingenious and effective means of screening the "real" living experiences. Literary works are drawn ahead the conventions of both realism and fantasy or myth. In previously colonized countries numerous „schools' of literature emerged which attempted to coalesce the old pragmatic tradition with elements.
Famous English poet and playwright William Shekespeare said that "Reality is continually established, by common effort, and art is one of the highest forms of this process". Literary realism does not mirror reality. We cannot comprehend reality in its entirety. All fiction draws on elements of reality, and can potentially alter our perception of reality. Literary realism does not directly refer to or represent reality, but a perception of it. The principal referent of literary realism is, ostensibly, reality. On the surface, literary realism would appear to operate by rules set by the "real world", grounded in physical and social reality, and, significantly, outside of fiction.
"Realism definition of Realism in the Free Online Encyclopedia", Encyclopedia 2.thefreedictionary.com.Retrueved 2014-07-15.
April 23-24, 2024 International Scientific and Practical Conference
466
We tend to judge, as readers, a literary realist text as if it were "real life". Literary realism does not refer directly to reality, as that would be an act of imitation, and imitation is neither representation nor art. A representation is, in effect, a referent in itself; a portrayal or a sign of something else, once removed from its subject, and a copy is not art. There is no fiction "outside of fiction".
The influence of fiction on reality Wolfgang Iser argues that 'no literary text relates to contingent reality as such, but to models or concepts of reality, in which contingencies and complexities are reduced to meaningful structure' (70). That is, "conventions" of reality or, in some cases, re-inventions or discoveries. We have an idea of reality; an accepted reality we can reasonably agree on, and the parameters whereby it operates, partly informed by experience, but also by conceptual influence, including from literature. CONCLUSION
Literature has arguably helped shape our idea of reality, which has led some to claim that everything is fiction. That the scope of accepted reality, the criteria by which we define it, are indeed dictated by fiction. This lays a heavy burden on fiction in general, literary realism in particular. Critics have argued that, because it presumes to represent reality, literary realism implies norms and standards that may effect a continuation and naturalization of detrimental fictions.
However, while literary realism, and fiction in general, may confirm existing norms of reality, it may also change them. Wolfgang Iser in a sense reverses the above argument; everything is not fiction, but rather everything is reality. Iser observes that 'the basic and misleading assumption is that fiction is an antonym of reality'. It is a source of 'a good deal of confusion ... when one seeks to define the "reality" of literature' . All fiction is, he writes, 'a means of telling us something about reality'. Reality is both its raw material and its outcome. The interaction with a text amounts to a "real" experience and has the potential of making 'the reader react to his own "reality", so that this same reality may then be reshaped' . In other words, all fiction draws on and addresses reality, regardless of genre, and, in providing an experience in itself, has the potential of changing our perception of reality. Generally, children's knowledge about reality is objective. Nevertheless, thanks to imagination, they are able to assimilate and master it, i.e. understand it in one's own way. When listening to fairy tales, children are often deeply affected by their contents and, at the same time, their imagination develops and takes on new shapes. Thus, fairy tales affect child's emotional, physical and mental development. In particular, it is reflected in the moulding of creative processes inspired by one's depictions of adventures that fairy tales' main characters have. Through listening, children modify their
April 23-24, 2024
467
understanding of the literary work that is read to them and practice the ability to connect separate events. Simultaneously, they develop their concentration skills and attention span, which is especially important for further education and learning.
REFERENCES
1. J. Zipes The Oxford Companion of Fairy Tales, Oxford, Oxford University Press, 2000.
Lyons J Deixis as the source of reference // Formal semantics of natural
2. language: Papers from a Colloquium sponsored by King's college research centre. -Cambridge, 1975. P. 61 -83.
M. Nikolajeva Reading for Learning-Cognitive approaches to children's
3. literature,Amsterdam, Philadelphia, John Benjamins Publishing Company, 2014, p. 182.
4. T odorov The Fantastic: A Structural Approach to a Literary Genre, cit. Vienna, Autriche " Amerika adabiyotinig asoslari"USA Regional Programm
. office. 1997. P 118.
V. Matezius "Отакназываем омактуальном членении предложения" and "Основная функция порядка словвчешском языке". S.A.Aminova Comparative Analysis yf "A Thousand Splendid Suns " and A 7. S imilar Work in Uzbek Literature. Texas Journal of Philology,Culture and History, 2024,
468
April 23-24, 2024 International Scientific and Practical Conference
