By Lori M. Campbell
Delusion writing, like literature typically, presents a strong automobile for demanding the established order. through symbolism, imagery and supernaturalism, delusion constructs secondary-world narratives that either replicate and critique the political paradigms of our personal global. This severe paintings explores the position of the portal in delusion, investigating the ways that magical nexus issues and circulation among worlds are used to demonstrate real-world energy dynamics, specifically these impacting girls and youngsters. via an exam of low and high myth, fairy stories, kid's literature, the Gothic, and technology fiction, the portal is pointed out as a dwelling being, position or magical item of profound metaphorical and cultural importance.
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Additional resources for Portals of Power: Magical Agency and Transformation in Literary Fantasy (Critical Explorations in Science Fiction and Fantasy)
Morris’s use of dialogue in Glittering Plain reinforces the difference in his portrayal of gender between the earlier romance and Wood. Once The Hostage does appear, her very being is questioned and her character qualiﬁed. In contrast to the Maid who spends the majority of Wood giving Walter instructions and telling him to “refrain thee” so she can speak, The Hostage is silent until the reunion. ” (325–26); she does not question the hero’s manhood or his relationship to her, only his identity. Here of course Morris partly bows to medieval romantic convention and it is important to consider his particular appropriation of it.
Indeed the Mistress spends the majority of her time trying to trick Walter and her treatment of the Maid hardly suggests a virtuous nature. By the same token, the Maid’s deception in transforming the King’s Son is meant to aid her own escape from thralldom to the Mistress as much as it is to beneﬁt Walter. Anne Mellor’s assessment of the male Romantic poets, whom Morris and other Victorians follow in the use of medieval modes, extends to help unravel Morris’s tricky approach to gender in the prose romances, especially in Wood.
As with Glittering Plain’s Hallblithe, Gawain acts with only minor, shadowy aid while Walter has substantial help from the Maid, and to some extent, the Mistress. In fact, Walter almost never acts out of his own motivation after the time when he ignores the Carle and passes through the cliff wall. Morris repeatedly highlights Walter’s subordinate status to the women; for example, by letting the reader into the hero’s thoughts after he receives orders from the Maid regarding escape and walks away “thinking ...