Discoveries can be self-driven initiatives, or thrust upon us through unwitting circumstances, compelling us to examine core beliefs about ourselves and ultimately renewing our perceptions of the world around us (epistemological). Ang Lee’s film Life of Pi (2012) is not merely a triumphant masterpiece of cinematic diversity but a fantastical trajectory of the human soul from a position of spiritual and emotional disorientation (theological) and into a habitat of inner clarity and gratification, eventually leading to a shift in worldly perspectives. Thus Lee uses Pi, whose inner workings of the mind are representative of an ongoing pattern of mathematical obscurity, to lead audiences to the collective belief that effective discoveries possess
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Cortazar establishes the nature of the fragmentation of the Human mind through the representation of an unidentified protagonist who emerges from a motorcycle accident with a sense of reality that regresses between two distinct realms- the subconscious and reality, taking place in the civil, Modern World and the savage, Aztec world albeit not respectively. The juxtaposition of the protagonist’s conscious with that of his subconscious state creates a ‘Russian Nesting doll narrative structure’, a story within a story, between that of the Aztec tribe preparing his ceremonial death and the cordial hospital environment. Cortazar infuses both realms by giving the protagonist an acute sense of smell even within the subconscious realm (it is however not indicated if this is the Aztec or Modern World) through olfactory language, “It was an unusual as a dream because it was full of smells, and he never dreamt smells.” Furthermore, Cortzar creates a metaphorical and surrealistic crossover from one realm to another thus promoting their inextricable link, “He detached himself almost physically from the final scene of the nightmare’, similarly both realms are presented with explicit, pictorial descriptions, further blurring the line between both realms, “his feet sank into a bed of leaves and mud.” This ambiguous and paradoxical structure lends itself to storytelling elements such as flashbacks with which the narrator successfully achieves through his third-person omniscient narration. Comparably, in the film the Adult Pi frames the experiences of the much Younger Pi as seen in the scene wherein he details the
Cortazar establishes the nature of the fragmentation of the Human mind through the representation of an unidentified protagonist who emerges from a motorcycle accident with a sense of reality that regresses between two distinct realms- the subconscious and reality, taking place in the civil, Modern World and the savage, Aztec world albeit not respectively. The juxtaposition of the protagonist’s conscious with that of his subconscious state creates a ‘Russian Nesting doll narrative structure’, a story within a story, between that of the Aztec tribe preparing his ceremonial death and the cordial hospital environment. Cortazar infuses both realms by giving the protagonist an acute sense of smell even within the subconscious realm (it is however not indicated if this is the Aztec or Modern World) through olfactory language, “It was an unusual as a dream because it was full of smells, and he never dreamt smells.” Furthermore, Cortzar creates a metaphorical and surrealistic crossover from one realm to another thus promoting their inextricable link, “He detached himself almost physically from the final scene of the nightmare’, similarly both realms are presented with explicit, pictorial descriptions, further blurring the line between both realms, “his feet sank into a bed of leaves and mud.” This ambiguous and paradoxical structure lends itself to storytelling elements such as flashbacks with which the narrator successfully achieves through his third-person omniscient narration. Comparably, in the film the Adult Pi frames the experiences of the much Younger Pi as seen in the scene wherein he details the