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(2) Tropes and 4 mythoi

 

Then Fall comes and the trees begin to lose their leaves and prepare for the winter, as beautiful as the dying leaves may be, they are still dying and thus a tragedy is occurring. .
             I believe that the easiest of these metaphors is the pathway being a metaphor for the "possible". Anything is possible if you are willing to walk the path to get there. Your physical experience, your life, sometimes seems to come to a stop on the path and you may become very comfortable in your spot on the path but change seems to occur even less. The more times you run through your everyday habits, the more you get stuck in them and then life seems to be just a habit. There needs to be spontaneity in life and "if you lose your ability to be spontaneous, you lose your ability to dance with the universe." You need to be able to move from your spot on the path and head in a new direction and when you"re headed in a new direction anything is possible. .
             The first example of a trope in a movie that I will use is in "Pretty Woman". At the beginning when Julia Robert's character first meets Richard Gere's character she is a prostitute on the side of the road. The general stereotype of prostitutes is that they are dirty and less than deserving of any respect or admiration. By the end we see her in a cocktail dress that makes her look beautiful and amazing and deserving of admiration and respect. So the trope would be that the clothes make the woman and as soon as we see her in more expensive clothing she suddenly becomes "worthy" of the audience. Another trope in the same movie has to do with the couple's rules of intimacy. Richard Gere offers her a sum of money to stay with him during his stay in the city and she accepts and says that the only thing that she will not do for him is kiss him on the lips because it leads to "unwanted intimacy" between her and her clients. Much later in the movie we see Julia Robert's character blow a kiss and place it on the lips of the sleeping Richard Gere.


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