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" The very name of the genre itself - fairy tale - originated during this time, for the French writers coined the term conte de fee during the seventeenth century, and it has stuck to the genre in Europe and North America ever since. This " imprint" is important, because it reveals something crucial about the fairy tale that has remained part of its nature to the present. The early writers of fairy tales placed the power of metamorphosis in the hands of women - the redoubtable fairies. In addition, this miraculous power was not associated with a particular religion or mythology, through which the world was to be explained. It was a secular mysterious power of compassion that could not be explained, and it derived from the creative imagination of the writer. Anyone could call upon the fairies for help, and it is clear that the gifted French women writers of the seventeenth century preferred to address themselves to a fairy and to have a fairy resolve the conflicts in their tales rather than the Church, with its male-dominated hierarchy. After all, it was the Church that had eliminated hundreds of thousands of so-called female witches during the previous two centuries in an effort to curb heretical and nonconformist beliefs. However, those " pagan" notions survived in the tradition of the oral wonder tale and surfaced in published form in France when it became safer to introduce in a symbolical code supernatural powers and creatures other than those officially sanctioned by the Christian code. In short, there was something subversive about the institutionalization of the fairy tale in France during the 1690S, for it enabled writers to create a dialogue about norms, manners, and power that evaded court censorship and freed the fantasy of the writers and readers, while at the same time paying tribute to the French code of civilite and the majesty of the aristocracy. Once certain discursive paradigms and conventions were established, a writer could demonstrate his or her " genius" by rearranging, expanding, deepening, and playing with the known functions of a genre that, by 1715, had already formed a type of canon, which consisted not only of the great classical tales-" Cinderella," " Sleeping Beauty," " Rapunzel," " Rumpelstiltskin," " Puss in Boots," " Little Red Riding Hood," " Beauty and the Beast," " Blue beard, " " The Golden Dwarf," " The Blue Bird," and " The White Cat" -but also the mammoth collection The Arabian Nights. "
162
" İn ordinary life we don’t give it more attention, but our emotions, mind-set, expectations and the content in which our sensations occur all have a profound influence on perception. It is experimentally proven fact that people who are warned that they are about to taste something bad rate what they do taste more negatively than people who are told that the taste won’t be so bad. Similarly, people who see images of the same baby rate it as stronger and bigger when they are told it is a boy as opposed to when they are told it is a girl. Most of us don’t have so-called free will, as we suppose that we have. Our emotions, expectations and sensations are controlled by others through different forms of ideology — history, religion, political doctrine and so on. They determine where and how your mind should set in order to perceive what is going around you ‘correctly‘. After all that regulation your brain and mind get a chance to function ‘independently’. Your freedom is hidden there. Let me introduce you to the amazing experiment from psychology. In short, in one study 12 students are sent to test a research hypothesis concerning maze learning in rats. Although it was not initially revealed to students, indeed, the students themselves were the object of this experiment but not the rats they were going to examine. 6 of the students were randomly told that the rats they would be testing had been bred to be highly intelligent, whereas the other 6 students were led to believe that the rats had been bred to be unintelligent. However, in reality there were no differences among the rats given to the two groups of students. When the students returned with their data, the result was fascinating. The rats run by students who expected them to be intelligent showed significantly better maze learning than the rats run by students who expected them to be unintelligent. What had happened? All rats were only rats without any intelligence, but there was substantial difference among brains, that is, the ways how they had been manipulated. Somehow the brain manipulation influenced on the mind, despite of the fact that all of them followed, at least it seemed so, the same conditions of the experiment. Familiar situation, isn’t it? There is no apparent intention for subjective interpretation of input signals receiving by the brain, there is even no subjective awareness that your brain might be under any manipulation, whereas your brain and mind are subtly controlled and manipulated to a considerable extent by others through various form of ideologies and you automatically feel, perceive, think and act according to them, as do true bio-social robots. "
― Elmar Hussein
164
" So, Colonna, please demonstrate to our friends how it's possible to respect, or appear to respect, one fundamental principle of democratic journalism, which is separating fact from opinion. ...'
'Simple,' I said. 'Take the major British or American newspapers. If they report, say, a fire or a car accident, then obviously they can't indulge in saying what they think. And so they introduce into the piece, in quotation marks, the statements of a witness, a man in the street, someone who represents public opinion. Those statements, once put in quotes, become facts - in other words, it's a fact that that person expressed that opinion. But it might be assumed that the journalist has only quoted someone who thinks like him. So there will be two conflicting statements to show, as a fact, that there are varying opinions on a particular issue, and the newspaper is taking account of this irrefutable fact. The trick lies in quoting first a trivial opinion and then another opinion that is more respectable, and more closely reflects the journalist's view. In this way, readers are under the impression that they are being informed about two facts, but they're persuaded to accept just one view as being more convincing. "
― Umberto Eco , Numero zero
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" Soul mates, they come into your life just to reveal another layer of yourself to you, and then they leave. And thank God for it. Your problem is, you just can't let this one go. It's over, Groceries. David's purpose was to shake you up, drive you out of that marriage that you needed to leave, tear apart your ego a little bit, show you your obstacles and addictions, break your heart open so new light could get in, make you so desperate and out of control that you had to transform your life, then introduce you to your spiritual master and beat it. That was his job, and he did great, but now it's over. Problem is, you can't accept that this relationship had a real short shelf life. You're like a dog at the dump, baby - you're just lickin' at an empty tin can, trying to get more nutrition out of it. And if you're not careful, that can's gonna get stuck on your snout forever and make your life miserable. So drop it. "
― Elizabeth Gilbert , Eat, Pray, Love: One Woman's Search for Everything Across Italy, India and Indonesia
