(hope[/FONT][FONT="] [/FONT]pookodooko doesnt mind)nice nick6inches said:[FONT="]Here you go
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[FONT="](1)[/FONT][FONT="] What is an imaginative journey you might ask? [/FONT]
[FONT="]Well, we know a journey is a movement from [/FONT]
[FONT="]one point to another, and this concept continues[/FONT]
[FONT="]in an imaginative journey. An imaginative [/FONT]
[FONT="]journey though, rises above the boundaries of [/FONT]
[FONT="]reality. There are no limits in the journey, no [/FONT]
[FONT="]restrictions; the journey is purely a figment of [/FONT]
[FONT="]your imagination, or someone else’s. An [/FONT]
[FONT="]imaginative journey can occur on many levels, [/FONT]
[FONT="]whether it is the creator, the participants or the [/FONT]
[FONT="]responder. [/FONT]
[FONT="](2)[/FONT][FONT="] And, as a result of their imaginative [/FONT]
[FONT="]journey, they are ultimately better off, whether [/FONT]
[FONT="]they leave the journey inspired to undertake [/FONT]
[FONT="]their own journey or they simply gain a wider [/FONT]
[FONT="]view of the world. The 3 persona’s I deal with [/FONT]
[FONT="]from Melvyn Bragg’s On Giants Shoulders all [/FONT]
[FONT="]experienced imaginative journeys because their [/FONT]
[FONT="]life virtually forced them into it. It did this by [/FONT]
[FONT="]imposing restrictions and limitations, which left [/FONT]
[FONT="]the 3 to dream of something better for [/FONT]
[FONT="]themselves. [/FONT]
[FONT="](3)[/FONT][FONT="] Journey To The Interior gives us a[/FONT]
[FONT="]whole new perspective, showing us that not all [/FONT]
[FONT="]participants believe that their journey is a good [/FONT]
[FONT="]thing. The character in Journey To The Interior, [/FONT]
[FONT="]basically, experiences a journey within her mind, [/FONT]
[FONT="]as the title explains. The imaginative journey with [/FONT]
[FONT="]King Kong differs, the journey occurring on many [/FONT]
[FONT="]levels. Peter Jackson created King Kong as a [/FONT]
[FONT="]result of his own imaginative journey.[/FONT]
[FONT="](4)[/FONT][FONT="] King Kong, directed by Peter Jackson is a perfect [/FONT]
[FONT="]example of an imaginative journey. Before any of [/FONT]
[FONT="]the characters are even introduced, Peter Jackson [/FONT]
[FONT="]lays the base foundation for our perceptions of [/FONT]
[FONT="]what Anne’s reality is. He does this so throughout [/FONT]
[FONT="]the film, we are able to contrast the new [/FONT]
[FONT="]surroundings and characters with Anne’s original [/FONT]
[FONT="]beginnings. So, the story begins with Anne Darrow, [/FONT]
[FONT="]battling to survive the Great Depression that has [/FONT]
[FONT="]taken hold in New York. [/FONT]
[FONT="](5)[/FONT][FONT="] When Carl Denham proposes that Anne acts as [/FONT]
[FONT="]the main star in her film, she cautiously accepts. [/FONT]
[FONT="]Anne’s imaginative journey begins once she [/FONT]
[FONT="]boards the ship, “Venture” and begins to act in [/FONT]
[FONT="]Denham’s movie. Her imaginative journey is such, [/FONT]
[FONT="]as this is not reality for her. Accustomed to [/FONT]
[FONT="]self-dependency, her whole persona in the film is [/FONT]
[FONT="]completely opposite to that. [/FONT]
[FONT="](6)[/FONT][FONT="] During the filming, [/FONT]
[FONT="]Anne displays classic stereotyped attitudes and [/FONT]
[FONT="]behaviours. Anne’s imagination is what forms the [/FONT]
[FONT="]character she is playing. As Anne’s character in [/FONT]
[FONT="]Denham’s film develops, it becomes apparent that [/FONT]
[FONT="]she is delving into a persona that is surreal to her, [/FONT]
[FONT="]yet perhaps a fantasy she would like to apply to [/FONT]
[FONT="]herself. One technique Peter Jackson uses to [/FONT]
[FONT="]convey this is the use of music in a specific [/FONT]
[FONT="]scene on the ship. [/FONT]
[FONT="](7)[/FONT][FONT="] The music used is classic [/FONT]
[FONT="]romance music, the sort that would be used for a [/FONT]
[FONT="]helpless dame. This is contrasted against the music [/FONT]
[FONT="]used before Anne’s journey starts, where it is [/FONT]
[FONT="]impactive, strong and attempts to send a message [/FONT]
[FONT="]of desperation. Anne’s journey immediately has [/FONT]
[FONT="]some results, with her fake persona opening up her[/FONT]
[FONT="]mind to other possibilities that she wouldn’t normally [/FONT]
[FONT="]consider. [/FONT]
[FONT="](8)[/FONT][FONT="] On board, she encounters a famed writer, [/FONT]
[FONT="]Jack Driscoll. Throughout their trip, Anne experiences [/FONT]
[FONT="]internal conflict about her feelings towards Jack [/FONT]
[FONT="]Driscoll, and although she tries to confine her [/FONT]
[FONT="]vulnerable emotions to him, in some scenes they are [/FONT]
[FONT="]let loose. Anne and Jack’s relationship remains [/FONT]
[FONT="]unresolved, as the “Venture” reaches the island. It [/FONT]
[FONT="]is once Anne reaches the island where her imaginative [/FONT]
[FONT="]journey is merged with reality, both co-existing to an [/FONT]
[FONT="]extent. [/FONT]
[FONT="](9)[/FONT][FONT="] Anne is captured by the natives on the island [/FONT]
[FONT="]and is sacrificed to Kong. Her feelings towards him are [/FONT]
[FONT="]fairly strong, she is terrified and angry that she is his [/FONT]
[FONT="]prisoner and attempts to escape many times. [/FONT]
[FONT="]Immediately after Anne’s capture, Kong treats Anne [/FONT]
[FONT="]like any other sacrifice he has received and attempts [/FONT]
[FONT="]to eat her. Anne’s resistance to this is what changes [/FONT]
[FONT="]Kong’s impression of her, for better or worse, and he [/FONT]
[FONT="]delays eating her. [/FONT]
[FONT="](10)[/FONT][FONT="] After a while, even though Anne has [/FONT]
[FONT="]not changed her impression of Kong, still trying to [/FONT]
[FONT="]escape, Kong is content enough to have Anne as a [/FONT]
[FONT="]captive, instead of something to eat. This result is [/FONT]
[FONT="]traced back to Anne’s defiant attempts to escape. [/FONT]
[FONT="]Whilst captive, Anne’s attitude towards Kong has [/FONT]
[FONT="]changed. [/FONT]
[FONT="](11)[/FONT][FONT="] This is the first major sign that Anne’s [/FONT]
[FONT="]imaginative journey and reality are clashing, [/FONT]
[FONT="]as she knows that any sort of relationship with Kong, [/FONT]
[FONT="]no matter how developed, is purely a dream. To [/FONT]
[FONT="]appease Kong’s temper, Anne communicates and [/FONT]
[FONT="]attempts to humour him by the most primal means, [/FONT]
[FONT="]movement or more specifically, acrobatics. [/FONT]
[FONT="](12)[/FONT][FONT="] Kong’s indifference to Anne changes with this [/FONT]
[FONT="]performance, to recognizing that she does have [/FONT]
[FONT="]some standing, no matter her stature. Anne [/FONT]
[FONT="]reinforces this in their relationship by telling him [/FONT]
[FONT="]off when she is injured by him. With the performance, [/FONT]
[FONT="]it is a significant step as it’s a small step that Anne [/FONT]
[FONT="]takes to get her closer to a primeval level at [/FONT]
[FONT="]which Kong is. [/FONT]
[FONT="](13)[/FONT][FONT="] The following sequence after this is a chase in [/FONT]
[FONT="]which Anne is being chased by some dinosaurs. [/FONT]
[FONT="]Although this scene doesn’t play a major part [/FONT]
[FONT="]in her imaginative journey, it does show how the [/FONT]
[FONT="]regression into a primal state is continuing. [/FONT]
[FONT="]Using modern day imagery, such as likening Anne [/FONT]
[FONT="]to Jane, from Tarzan and Jane, Peter [/FONT]
[FONT="]Jackson shows how Anne is almost taking to her [/FONT]
[FONT="]natural surroundings. [/FONT]
[FONT="](14)[/FONT][FONT="] In the same scene, Kong shows [/FONT]
[FONT="]protectiveness of Anne and also concern for her safety. [/FONT]
[FONT="]These actions show that Kong is becoming more [/FONT]
[FONT="]civilized and is developing an attraction to her because [/FONT]
[FONT="]of how strong-willed she is. Finally, at the end of the [/FONT]
[FONT="]scene, Anne has the chance to escape Kong’s grasp, [/FONT]
[FONT="]instead though she purposefully associates with him, [/FONT]
[FONT="]representing how her feelings have developed for him.[/FONT]
[FONT="](15)[/FONT][FONT="] A couple of scenes later, we are confronted with the [/FONT]
[FONT="]image of Kong and Anne sitting on another rock platform. [/FONT]
[FONT="]It is, to watch the sun setting. This is another example, [/FONT]
[FONT="]of Anne connecting with Kong but on a more civilized [/FONT]
[FONT="]level. She realizes that just as she tries to connect with[/FONT]
[FONT="]Kong, she believes he has tried as well. 2 scenes later, [/FONT]
[FONT="]Anne is confronted with a crossroad. Jack Driscoll has [/FONT]
[FONT="]presented himself to rescue her, yet Anne is conflicted [/FONT]
[FONT="]within. [/FONT]
[FONT="](16)[/FONT][FONT="] Anne chooses to escape from Kong, diverting [/FONT]
[FONT="]from her imaginative journey for at least a while. And [/FONT]
[FONT="]yet, although Anne had separated herself partly from [/FONT]
[FONT="]her imaginative journey, she returns once more to it, [/FONT]
[FONT="]as she reaches almost a frenzy to try and save Kong. [/FONT]
[FONT="](17)[/FONT][FONT="] In stark contrast to what we witnessed on the island, [/FONT]
[FONT="]Kong in captivity in Manhattan is a broken animal. [/FONT]
[FONT="]Anne returns from her journey into reality, dancing [/FONT]
[FONT="]to the song “Bye, Bye, Blackbird”, a striking [/FONT]
[FONT="]comparison formed between her temporary life on the [/FONT]
[FONT="]island and her life now. Anne, devoid of Kong, has [/FONT]
[FONT="]regressed back into actuality. [/FONT]
[FONT="](18)[/FONT][FONT="] Halfway through this scene though, Anne stops, and [/FONT]
[FONT="]is struck that she has become enriched from her [/FONT]
[FONT="]journey, and deviating from it has left her empty. [/FONT]
[FONT="]Kong’s rampage throughout Manhattan ends when [/FONT]
[FONT="]he spots Anne, walking to meet him. Peter Jackson [/FONT]
[FONT="]uses a visual metaphor of Anne walking towards Kong [/FONT]
[FONT="]to show that most likely for the final time, Anne is [/FONT]
[FONT="]continuing on her journey, willingly this time. [/FONT]
[FONT="](19)[/FONT][FONT="] The final scene of King Kong, once again [/FONT]
[FONT="]shows how Anne has reached the climax of her journey. [/FONT]
[FONT="]Risking her life in a frenzy, she screams and yells at the [/FONT]
[FONT="]airplane pilots not to shoot Kong, but they ignore her. [/FONT]
[FONT="]When Kong is barely able to hang on to the tower for [/FONT]
[FONT="]any longer, they share a final connection, with Anne [/FONT]
[FONT="]touching Kong’s face, representative of how her dream [/FONT]
[FONT="]was to bring both their worlds together. [/FONT]
[FONT="](20)[/FONT][FONT="] One of the airplanes interrupts this with a stream of [/FONT]
[FONT="]bullets, symbolizing that although their relationship [/FONT]
[FONT="]worked away from reality, it could never work in real [/FONT]
[FONT="]life. And so, as Kong dies, Anne embraces Jack who [/FONT]
[FONT="]has made it to the roof. Whether seen as [/FONT]
[FONT="]treacherous, or her first sane action, all that is known [/FONT]
[FONT="]for sure is that Anne’s mind has rid itself of any and [/FONT]
[FONT="]all surreal instincts, ready to end her imaginative [/FONT]
[FONT="]journey. [/FONT]
[FONT="](21)[/FONT][FONT="] King Kong doesn’t only invoke an imaginative journey in [/FONT]
[FONT="]the main character, Anne; it also shares the imaginative [/FONT]
[FONT="]journey with the audience. As a responder, King Kong [/FONT]
[FONT="]transports viewers away from reality, to somewhere [/FONT]
[FONT="]surreal and imaginative. The locations and creatures are [/FONT]
[FONT="]outrageous, yet they capture our imagination, and are still [/FONT]
[FONT="]able to provoke emotions within us. The basic storyline [/FONT]
[FONT="]forces us to acknowledge that the main characters [/FONT]
[FONT="]relationship is a fairytale, and yet we can’t help but [/FONT]
[FONT="]believe that it can work. The journey makes us question [/FONT]
[FONT="]our pre-conditioned concepts of love and affection, and [/FONT]
[FONT="]ultimately we benefit from that. [/FONT]
[FONT="](22)[/FONT][FONT="] The main reason that as responders to King [/FONT]
[FONT="]Kong, we are taken on an imaginative journey [/FONT]
[FONT="]is that the director Peter Jackson, experienced [/FONT]
[FONT="]an imaginative journey while making the film. [/FONT]
[FONT="]In fact, Jackson’s imaginative journey began [/FONT]
[FONT="]as a child, when he first watched the original [/FONT]
[FONT="]King Kong. His first viewing took him into a [/FONT]
[FONT="]world he knew wasn’t real, yet he was incredibly [/FONT]
[FONT="]attached to it. [/FONT]
[FONT="](23)[/FONT][FONT="] Because of his attachment, he took the whole [/FONT]
[FONT="]idea of the film with him once he had finished [/FONT]
[FONT="]watching it. This inspired him to attempt to [/FONT]
[FONT="]make his own version of King Kong, under [/FONT]
[FONT="]limited means. Needless to say, it was a [/FONT]
[FONT="]failure, but he was inspired to continue on with [/FONT]
[FONT="]his dream of one day making his own version of [/FONT]
[FONT="]King Kong. [/FONT]
[FONT="](24)[/FONT][FONT="] Only a few years ago, Jackson had the means [/FONT]
[FONT="]of re-making King Kong. His journey led him to [/FONT]
[FONT="]re-thinking aspects of the original film and also [/FONT]
[FONT="]provoked him to use his own imagination to come [/FONT]
[FONT="]up with different scenes. These scenes are so far [/FONT]
[FONT="]from reality, but because of Jackson’s devotion to [/FONT]
[FONT="]their creation, we as an audience are drawn into [/FONT]
[FONT="]them. [/FONT]
[FONT="](25)[/FONT][FONT="] Once Jackson had finished filming his own [/FONT]
[FONT="]version, his journey came to an end, like all journeys [/FONT]
[FONT="]do. Leaving his journey, he had acquired a sense of [/FONT]
[FONT="]accomplishment, put his boyhood aspirations to rest, [/FONT]
[FONT="]and made himself and also others realize that dreams [/FONT]
[FONT="]do come true.[/FONT]
[FONT="](26)[/FONT][FONT="] The imaginative journey of Sigmund Freud is filled [/FONT]
[FONT="]with rebellious ideas, breaking the status quo of his [/FONT]
[FONT="]time. Freud’s journey began when he became a [/FONT]
[FONT="]doctor and corresponded with Jean Martin Charcot. [/FONT]
[FONT="]Previously, in his earlier years, Freud was exposed [/FONT]
[FONT="]to pre-conditioned ideas and attitudes, which led [/FONT]
[FONT="]him to his position as a doctor. [/FONT]
[FONT="](27)[/FONT][FONT="] The reason why Freud’s journey began with the [/FONT]
[FONT="]Correspondence between himself and Charcot is that [/FONT]
[FONT="]Charcot was a free-thinker. Charcot shared his [/FONT]
[FONT="]original concepts of hysteria and psychopathology, [/FONT]
[FONT="]previously unheard of ideas in their society at that [/FONT]
[FONT="]time. This combination of combining intellect and [/FONT]
[FONT="]imagination impacted majorly on Freud, who adopted [/FONT]
[FONT="]it as his own way of thinking. [/FONT]
[FONT="](28)[/FONT][FONT="] Throughout the immediate future for Freud, [/FONT]
[FONT="]he examined new psychological symptoms with an [/FONT]
[FONT="]imaginative approach, believing that the restrictions [/FONT]
[FONT="]set in place for medicine did not apply. [/FONT]
[FONT="]Furthermore, after some time, he re-examined [/FONT]
[FONT="]concepts already accepted in society and [/FONT]
[FONT="]attempted to give better explanations. One [/FONT]
[FONT="]example of Freud “thinking outside the square” is [/FONT]
[FONT="]his theory about the Oedipus complex. [/FONT]
[FONT="](29)[/FONT][FONT="] For those of you that don’t know, the Oedipus [/FONT]
[FONT="]complex basically is the belief that a child develops [/FONT]
[FONT="]an attraction to a parent of the opposite sex, [/FONT]
[FONT="]while the child resents the parent of the same sex. [/FONT]
[FONT="]This sort of thinking didn’t correspond at all with [/FONT]
[FONT="]people’s beliefs in society, yet this is just one of [/FONT]
[FONT="]many examples of how Freud transcended the [/FONT]
[FONT="]boundaries of reality, and used his imagination to [/FONT]
[FONT="]find a diagnosis. [/FONT]
[FONT="](30)[/FONT][FONT="] Melvyn Bragg, the author, uses an array of viewpoints [/FONT]
[FONT="]to show that even though Freud knew that many [/FONT]
[FONT="]disagreed with his work, he still continued. [/FONT]
[FONT="]Also, as in this chapter we are presented with such a [/FONT]
[FONT="]volatile issue that Freud created, Bragg intends us to [/FONT]
[FONT="]still associate positively with the character by [/FONT]
[FONT="]interspersing the text with biographical details, [/FONT]
[FONT="]significantly humanising Freud to appeal to the [/FONT]
[FONT="]responder. [/FONT]
[FONT="](31)[/FONT][FONT="] In the 1890’s, Freud completely turned [/FONT]
[FONT="]away from neurology, preferring to draw hypothesis [/FONT]
[FONT="]from his work with patients and research. Along these [/FONT]
[FONT="]lines of thinking, this led Freud to a startling conclusion [/FONT]
[FONT="]about not only himself, but the human race. He [/FONT]
[FONT="]hypothesized that our minds were majorly of a sexual [/FONT]
[FONT="]nature. This large impact this self-realisation had on [/FONT]
[FONT="]Freud makes his imaginative journey unique. [/FONT]
[FONT="](32)[/FONT][FONT="] Freud’s journey ended in 1939 with his death from [/FONT]
[FONT="]cancer. His progression throughout the journey [/FONT]
[FONT="]hinged on that one encounter with Charcot, and[/FONT]
[FONT="]because of that he gained a better developed [/FONT]
[FONT="]understanding of himself. Freud never was [/FONT]
[FONT="]disheartened throughout his journey, even [/FONT]
[FONT="]though the concepts he developed throughout [/FONT]
[FONT="]were not widely socially accepted, it doesn’t[/FONT]
[FONT="]mean they were failures, another thing that [/FONT]
[FONT="]Freud discovered as a result of his journey. [/FONT]
[FONT="](33)[/FONT][FONT="] As a responder, we also benefit from Freud’s journey, [/FONT]
[FONT="]as it fills us with awe and inspiration about this one [/FONT]
[FONT="]single man and his accomplishments. Although it can’t [/FONT]
[FONT="]be said that every responder to Freud will be called [/FONT]
[FONT="]upon to start their own imaginative journey, it most [/FONT]
[FONT="]likely has reinforced the idea amongst the masses that [/FONT]
[FONT="]“thinking outside the square” pays off.[/FONT]
[FONT="](34)[/FONT][FONT="] Charles Darwin’s imaginative journey bears a [/FONT]
[FONT="]resemblance to Freud’s journey, even though the [/FONT]
[FONT="]specifics of Darwin’s life are almost at opposites of [/FONT]
[FONT="]Freud’s. Darwin began his journey after his return on [/FONT]
[FONT="]“The Beagle”. His voyage on the ship lasted many [/FONT]
[FONT="]months, and throughout that time he was able to [/FONT]
[FONT="]record information about hundreds of species that [/FONT]
[FONT="]he encountered throughout various locations. [/FONT]
[FONT="](35)[/FONT][FONT="] Once he returned, he was confronted with the [/FONT]
[FONT="]ultimatum of collecting his thoughts on what he [/FONT]
[FONT="]had seen. It was then, when he started his [/FONT]
[FONT="]imaginative journey, rising above normal thoughts, [/FONT]
[FONT="]relying on his own imagination. The concepts at [/FONT]
[FONT="]the time could not explain what he saw; one [/FONT]
[FONT="]sighting specifically is the finches on the [/FONT]
[FONT="]Galapagos Islands. [/FONT]
[FONT="](36)[/FONT][FONT="] This practically forced Darwin [/FONT]
[FONT="]to consider ideas out of the ordinary, [/FONT]
[FONT="]just like Freud he was forced to think “outside of [/FONT]
[FONT="]the square”. His ideas combined not only his [/FONT]
[FONT="]imagination, but also his flair for collections, [/FONT]
[FONT="]eventually envisioning a system of how the finches [/FONT]
[FONT="]came to be like they were on the Galapagos Islands. [/FONT]
[FONT="]The most rewarding part of Darwin’s system of [/FONT]
[FONT="]evolution is that it was so radical and well thought-out [/FONT]
[FONT="]that it could be applied to any species alive. [/FONT]
[FONT="](37)[/FONT][FONT="] Darwin’s journey sparked debate, like some [/FONT]
[FONT="]imaginative journeys’ do, but although Darwin [/FONT]
[FONT="]had changed his whole way of thinking, he did not [/FONT]
[FONT="]disregard his manners. Darwin hated conflict, and [/FONT]
[FONT="]resigned himself not to take part. As we saw in [/FONT]
[FONT="]Sigmund Freud’s chapter, Bragg once again attempts [/FONT]
[FONT="]to persuade the reader to see Darwin in a positive [/FONT]
[FONT="]light even though there is an air of controversy [/FONT]
[FONT="]surrounding him. Bragg does this by writing with [/FONT]
[FONT="]an appreciative tone and incorporating subjective [/FONT]
[FONT="]views on the character of Darwin. [/FONT]
[FONT="](38)[/FONT][FONT="] Something exclusive about Darwin’s imaginative [/FONT]
[FONT="]journey was that, like King Kong, it merged [/FONT]
[FONT="]with reality at some times. For example, even though [/FONT]
[FONT="]Darwin had thought up these extremely radical ideas, [/FONT]
[FONT="]he did not want to apply them to man-kind as he still [/FONT]
[FONT="]was a religious man. Unfortunately, sitting on the fence [/FONT]
[FONT="]doesn’t work in imaginative journey’s either, with [/FONT]
[FONT="]Darwin coming under fire because other people had [/FONT]
[FONT="]already applied his system to humans. [/FONT]
[FONT="](39)[/FONT][FONT="] Darwin’s imaginative journey inspired many people, [/FONT]
[FONT="]and continues to do so, yet there are few that can [/FONT]
[FONT="]claim that they have participated in imaginative [/FONT]
[FONT="]journeys connected to evolution, directly because [/FONT]
[FONT="]of him. There are so few, because Darwin [/FONT]
[FONT="]advanced evolution to such a stage that its concepts [/FONT]
[FONT="]were mostly complete. Instead, Darwin has led [/FONT]
[FONT="]many people to undertake their own imaginative [/FONT]
[FONT="]journeys, but rather in the field of creationism.[/FONT]
[FONT="](40)[/FONT][FONT="] Marie Curie’s imaginative journey began after [/FONT]
[FONT="]graduating in 1895. Her journey tested the limits [/FONT]
[FONT="]of her reality for women and education, yet she [/FONT]
[FONT="]was able to rise above them. After 1985, Marie was [/FONT]
[FONT="]an accepted scientist, partly forming her journey. [/FONT]
[FONT="]For her, this was a dream; women did not attain [/FONT]
[FONT="]positions like this. And then, to add to her journey, [/FONT]
[FONT="]she married someone who not only held the same [/FONT]
[FONT="]position as her, but also shared the same interests. [/FONT]
[FONT="](41)[/FONT][FONT="] Some people may argue that Marie’s journey was [/FONT]
[FONT="]not one of imagination, yet her journey can easily [/FONT]
[FONT="]be defined as one that rose above the limits of [/FONT]
[FONT="]reality. How did she do this, by gaining a tertiary [/FONT]
[FONT="]education, breaking the stereotype of an educated [/FONT]
[FONT="]woman and mixing not only her professional life [/FONT]
[FONT="]but also her social life, seamlessly. Once again, as [/FONT]
[FONT="]seems to be the modus operandi for the scientists [/FONT]
[FONT="]in On Giant’s Shoulders, she was able to blend her [/FONT]
[FONT="]imagination with her intellect, still keeping a fairly [/FONT]
[FONT="]accurate perspective. [/FONT]
[FONT="](42)[/FONT][FONT="] Specifically, her focus on the element radium led [/FONT]
[FONT="]her to make startling predictions about the [/FONT]
[FONT="]radioactivity of these elements. She assumed that [/FONT]
[FONT="]the reactions took place on an atomic level, a [/FONT]
[FONT="]concept that had never been proposed before. [/FONT]
[FONT="]Just as we saw in King Kong, Marie was forcibly [/FONT]
[FONT="]taken from her imaginative journey, but in her case [/FONT]
[FONT="]it was the scholar’s and media of her time. Both [/FONT]
[FONT="]made accusations about her and her relationship [/FONT]
[FONT="]with Pierre, and she was overshadowed by her [/FONT]
[FONT="]husband in some situations. [/FONT]
[FONT="](43)[/FONT][FONT="] These events brought her out of her fantasy, back [/FONT]
[FONT="]into the solemn reality of the world. Only when [/FONT]
[FONT="]she was working on her experiments, or working [/FONT]
[FONT="]with her husband was she transported back into [/FONT]
[FONT="]her journey. In 1934, her journey ended, yet her [/FONT]
[FONT="]journey affected many women of her time, inspired[/FONT]
[FONT="]to follow her trail. Some of the techniques Bragg[/FONT]
[FONT="]uses to present Marie’s imaginative journey also [/FONT]
[FONT="]occur throughout the other chapters of the book. [/FONT]
[FONT="](44)[/FONT][FONT="] One example is Bragg’s conversational style of [/FONT]
[FONT="]writing, interspersed with colloquialisms, which [/FONT]
[FONT="]leads people to grasp the concepts of the book [/FONT]
[FONT="]more readily. This makes the audience able to more [/FONT]
[FONT="]readily be inspired and possibly undertake [/FONT]
[FONT="]their own imaginative journey.[/FONT]
[FONT="](45)[/FONT][FONT="] For those of you that haven’t read Journey To [/FONT]
[FONT="]The Interior, it can be summarized simply by [/FONT]
[FONT="]stating that it deals with a person’s imaginative [/FONT]
[FONT="]journey inside their own mind. It begins by the [/FONT]
[FONT="]character, projecting natural surroundings, acting as [/FONT]
[FONT="]a metaphor for the depths of their mind. [/FONT]
[FONT="](46)[/FONT][FONT="] As we move throughout the text and the imaginative [/FONT]
[FONT="]journey the character experiences, we become [/FONT]
[FONT="]aware that the path is disjointed, it becomes [/FONT]
[FONT="]multidirectional and there is no way of predicting [/FONT]
[FONT="]what the character will experience next. For [/FONT]
[FONT="]example, the character moves through the hills, [/FONT]
[FONT="]where they comment that they now encounter [/FONT]
[FONT="]prairies, a treeless plain. The next line of [/FONT]
[FONT="]their journey, they encounter trees, and swamps, [/FONT]
[FONT="]things that should not be present in a prairie. [/FONT]
[FONT="](47)[/FONT][FONT="] The characters journey continues, becoming more [/FONT]
[FONT="]surreal and more negative. Word connotations are [/FONT]
[FONT="]used widely throughout the text, mainly to invoke [/FONT]
[FONT="]negative feelings about the journey. Then, more [/FONT]
[FONT="]than halfway through the characters journey, we [/FONT]
[FONT="]as a responder encounter something that was not [/FONT]
[FONT="]present in either King Kong or the On Giants [/FONT]
[FONT="]Shoulders texts. The character comments that it’s [/FONT]
[FONT="]possible she has been going around in circles. [/FONT]
[FONT="](48)[/FONT][FONT="] Whereas these other texts have displayed [/FONT]
[FONT="]imaginative journeys as positive aspirations, [/FONT]
[FONT="]Journey To The Interior displays this particular [/FONT]
[FONT="]imaginative journey as a disturbing and chaotic [/FONT]
[FONT="]experience. Finally, the text comes to an end, yet we [/FONT]
[FONT="]are left in the dark as to whether the characters [/FONT]
[FONT="]journey will end, or will continue endlessly. [/FONT]
[FONT="](49)[/FONT][FONT="] There is only one parallel that can be drawn from [/FONT]
[FONT="]this text, to the texts of On Giants Shoulders. [/FONT]
[FONT="]Each character displayed a resistance to start their [/FONT]
[FONT="]journey, yet once they began, they endeavoured [/FONT]
[FONT="]to continue through with it.[/FONT]
[FONT="](50)[/FONT][FONT="] After studying so many imaginative journeys in so [/FONT]
[FONT="]many forms, I believe that ultimately, the majority of [/FONT]
[FONT="]journeys we undertake are beneficial. But, for the [/FONT]
[FONT="]journeys we do deem as a wasted experience, can we [/FONT]
[FONT="]really say that, after all, is broadening our minds to [/FONT]
[FONT="]encompass other perspectives really such a wasted [/FONT]
[FONT="]experience. Thankyou.[/FONT]
