The document discusses several works of fiction and how they relate to philosophical concepts and theories. It analyzes The Sandman in relation to illusion and how characters argue about the subjective nature of reality. Sonny Blues is examined in connection to ontology and how Anne Frank's diary demonstrates ontological views on God's existence. The Child Hero's Lament is discussed in the context of phenomenology and how works can show characters' experiences and perspectives without directly stating philosophical stances. The essay analyzes these literary works through the lenses of philosophical theories to identify key themes of illusion, ontology, and phenomenology.

1. Modern fairy tales are often written or "modified" for
youngsters. Songs, poems, romances, history, and science books
are similar. Only do this risky surgery if necessary. Thus,
children are not the key to understanding fairy tales. Fairy tale
libraries are more like attics and lumber rooms with odd
playrooms. It's not rare to find an old work of art that wasn't too
severely damaged, which only foolishness would have ever
tucked aside among the boxes' jumbled and often tattered
contents, a hodgepodge of dates, intents, and tastes (Attebery,
2022). Maybe Andrew Lang's fairy tales aren't lumber rooms.
Like flea market stalls. Someone dusted the storage facilities
and disused rooms. His collections for children were based on
his adult mythology and folklore study. Lang made valid points.
The series' first book's introduction mentions children "to whom
and for whom they are told." He claims that these people
represent "man at his youthful age, true to his early passions,
and with his unblunted edge of belief, a fresh longing for
marvels." The big question kids ask is "Is it true?" I get the idea
that this culture equates believing and being amazed. A
developing mind does not instantly distinguish the hunger for
miracles from its normal appetite, yet they are very distinct.
Lang's use of "belief" in its ordinary sense—the belief that
something is feasible or exists—is clear. If this is the case,
Lang's emotionless words can only imply that the teller of
marvellous tales to children must, may, or at least does trade on
their credulity, on the lack of experience that makes it harder
for children to distinguish fact from fiction in certain cases,
despite the distinction being fundamental to the sane human
mind and to fairy-stories.
Tolkien coined this phrase to define fables. Tolkien defines the
eucatastrophe as "the abrupt joyful turn in a story which pierces
you with a delight that brings tears" (Tolkien, p.100). Night on
the Galactic Railroad explores Eucatastrophe through its author,
the intriguing but tragically brief Miyazawa, whose viewpoint

2. on life and the world is captivating and whose examination of
happiness and death is touching. Giovanni loved the bird
catcher instantly. He grinned at the man's infantile reaction to
Giovanni's ticket and his joy as he caught and carefully wrapped
the herons. Giovanni felt obligated to help the bird catcher
despite having just met him and not knowing his name. If it
made the man happy, Giovanni would spend a century hunting
birds in the Milky Way (de Saint-Exupéry, 2019). Giovanni,
moved by his newfound feelings, asked the bird catcher what he
desired most, considering a more delicate way to say it. The
bird watcher was missing from the seat next to him and his bags
from the overhead compartment. Giovanni instantly glanced out
the window, thinking he was back outside catching birds, but all
he saw was the same magnificent riverbed and white pampas
grass (Tolkien, p.81).
The protagonist of The Little Prince discovers that there are
only six or seven guys and that one never knows where to find
them after experiencing enormous agony, joy, and a solution.
The flower implies wind-borne men. Prince finds a rose garden
on Earth. He is saddened by the five thousand in the garden.
Saint-view Exupéry's of grownups doesn't shift throughout the
novel (Cranmer, 2018). Adults are dull. They accept what they
see, which limits them. However, his depiction of adults mocks
their fear. Reality—the type youngsters see—threatens their
carefully structured universe. As he ages, the narrator learns to
pretend, but he never considers himself a grown-up because
grownups simply want to hear what they want to hear and don't
challenge their traditions. “I'd get down with him. I enjoyed
talking bridge, golf, politics, and neckwear with him. A wise
man would delight the adult. Reached (Kindle Edition, p.60)”
Tolkien separated the physical world (Primary World) from his
imagination (Secondary World) (Secondary World). He adds
that a good author can make kids believe a story. "Willing
suspension of disbelief" describes this mindset. I disagree. The
storyteller becomes a skilled "sub-creator." Tolkien invented
Sindarin. Its "secondary-world history" is its mythical growth

3. from Primitive Elvish, whereas its "primary-world history" is
Tolkien's genuine language creation.
A few of Tolkien's short stories and fragments, in my opinion,
are "stand alone" pieces that have nothing to do with Arda or
Middle Earth. Yes. Tolkien's stories were not all set in Arda or
Middle-Earth, the two settings on which he focused most of his
energy and in which all others pale in comparison. In The Smith
of Wootten Major, for instance, we visit the realm of faery,
which Tolkien considered to be a kind of parallel place to our
own, where "magic" is genuine and where our own "true" stories
are created (Wagenknecht, 1946). A similar tale, The Farmer
Giles of Ham, follows a man who, when confronted by a giant
on his estate, unwittingly becomes a hero. A succession of
unfortunate events leads to him confronting a dragon. The
recalcitrant protagonist finds himself back in a magical land.
Rather than being an actual part of Middle Earth, the kingdom
is a satire of the same fairy tale realm where many stories about
dragons being slain take place.
Tolkien's "On Fairy-Stories" contains a theology of fantasy that
discusses the writer's position and mission in regard to God, the
stories' content and structure, and the stories' impact on the
readers. According to Tolkien, the author writes because he is a
writer. This is especially true of the fantasy genre (Tolkien,
P.70). Because of this, we can see how the writer functions as a
'creator,' bringing to life and bringing to life a world and
characters that previously existed only in the writer's
imagination.
Reference
Attebery, B. (2022).
Fantasy: How It Works. Oxford University Press.
https://books.google.com/books?

4. Cranmer, F. (2018). Religion in Scots Law Callum G Brown,
Thomas Green and Jane Mair Humanist Society Scotland,
Edinburgh, 2016, 355 pp (free download) https://www.
humanism. scot/wp-content/uploads/2016/02/Religion-in-Scots-
Law-Final-Report-22-Feb-16. pdf.
Ecclesiastical Law Journal,
20(2), 216-217.
de Saint-Exupéry, A. (2019).
El Principito: The Little Prince. Editorial Verbum.
https://books.google.com/books?
Wagenknecht, E. (1946). The Little Prince Rides the White
Deer: Fantasy and Symbolism in Recent Literature.
The English Journal,
35(5), 229-235.
https://www.jstor.org/stable/807113
Hi Luis, you have made an interesting and insightful post on
Fairy stories and their characteristics. Good job! Since
childhood, I find fairy stories quite interesting and memorable
and I would recommend them to everyone. From an analytic
point of view, they mainly feature imaginary beings and magic
which makes them epic and a favorite to most readers. As you
have noted, stories like the Night on the Galactic Railroad and
The Little Prince are generally suited for developed readers and
adults who are able to infer deeper meaning and identify key
themes. I agree that such stories are effective in relaying deep
and difficult messages that may not be easy for most child
readers to comprehend at a single take. That is the case with
fairy stories that do not have a happy ending as a majority of
readers in this category would expect. Nevertheless, the
possibility of future opportunities to read the material implies
that readers can always develop their understanding of the
intended meaning as well as make their own interpretations.

5. Respond to the following in a minimum of 250 words:
· Three strikes laws are considered by many to be extremely
harsh since minor offenses can lead to long sentences. Would
you support three-strikes laws for white-collar crimes over
$100,000, since a single white-collar crime can cause harm to
hundreds of victims and many white-collar crimes are
committed by people who live an upper-class lifestyle? Which
criminological theories or philosophies support your position
and which ones oppose your position?
Introduction
Many authors have tried their hands at fiction, penning novels
and short stories that incorporate philosophical themes and
teachings such as those of Plato and Aristotle. Even though it is
often easy to tell Socrates' actual beliefs from Plato's and other
philosophers’ in their original works, this is not the case when
thematically and theoretically analyzing fiction as will be the
main purpose of this essay. In that regard, the essay will
examine various texts with the view of developing a thematic
analysis based on the theoretical sources reviewed in the course.
Three major themes are highlighted: illusion, as depicted in
The Sandman, ontology, as discussed by Robert B.
Pippin and depicted in
Sonny Blues, and effective phenomenology, as
discussed by Martin Heidegger and demonstrated in
The Child Hero’s Lament. The essay will wrap up by
drawing a summary and conclusions on key emergent themes.
While numerous themes emerge from reading the primary texts,
the aspects of allusion, phenomenology, and ontology are more
greatly emphasized in the development of the authors’ stories.
Body
As mentioned, the essay's main body will focus on three main

6. ideas drawn from the primary literature and based on theoretical
sources.
· The aspect of allusion
: Typical of Hoffmann's works,
The Sandman has a dizzyingly postmodern philosophy.
As Nathanael, a proto-postmodernist, argues with Clara, a
strong modernist, the potential of existence is limitless if reality
is subjective. For Nathanael, there is no escape from fate, and
he is driven by this allusion. He asserts that one can do or be
anything they want (and they can make others do or be anything
they don't want to be), but when the Manager shuts out the
lights and pulls them into the dark, there's nothing they can do
to oppose.
· The aspect of phenomenology:
When comparing logic to thought and cognition, Arendt
uses the parable of
The Sandman to draw clear lines. Following the norms
of logic, one can make deductions from axiomatic assertions
and generalize from specific cases. They are characterized by a
complete lack of choice since the mind is subject to logical laws
in the same way that the body is subject to physical laws.
According to Arendt, intelligence is synonymous with the
ability to reason logically, therefore being unable to think is not
the same as being mentally incapable.
· The aspect of Ontology
: Anne Frank's diary contains a demonstration of an
ontological component predicated on the existence of God.
Anne claims that they were coerced into performing the sinful
act, and that, in contrast to the intended outcomes of sacrifices,
no good came of it. In Jewish tradition, God was called
Yahweh. The name meant "He who creates things" in its
original context. To achieve this, Yahweh used the
Utilitarianism principle of maximizing happiness for the largest
possible group of people.