The staple fibre unit of symbolic convergence theory and dream-theme criticism is fantasy or fantasy theme. Fantasy here authority the seminal and imaginative interpretation of events, and a fantasy theme is the means through which the interpretation is accomplished in communication:
It is a word, phrase, or statement that interprets events in the past, envisions events in the future, or depicts ongoing events that be removed in time and/or billet from the actual activities of the group. Fantasy themes tell a story that accounts for the group's experience and that is the reality of the participants (Foss, 290).
Fantasies are dramatic, comprising setting, characters, and deeds, each a different configuration of theme. Fantasies are also characterized by their artistic and organized attribute:
While experience itself is often chaotic and confusing, fantasy themes are organized and artistic. they are designed to create the most plausible interpretation of experience or the most comprehensible forms for making sense out of experience (Foss 291).
thither are louvre steps in the procedure of fantasy-theme criticism to discover the solid ground view shared by a community: 1) finding evidence of the sharing of fantasy themes or a rhetorical vision; 2) coding the rhetorical
FINDING EVIDENCE OF SHARED FANTASIES
artifact(s) for setting, character, and action themes; 3) construction of the rhetorical vision(s) on the basis of the fantasy themes; 4) naming the motive for the visions set; and 5) assessment of the group's rhetorical vision. Each of these will be considered in turn.
Foss, Sonja K. Rhetorical Criticism: Exploration & Practice. Prospect Heights, Illinois: Waveland, 1989.
ASSESSMENT OF THE rhetorical VISION
The motive is two-fold: 1) to depict the world as a score where good triumphs over evil, and 2) to appeal to the romantic record in the audience and to satisfy that nature with the love between the male child and girl.
Both motives lead to a happy ending, to the resolution of the action themes in terms of the good characters over the bad. The traditional fantasy element only reinforces this romantic nonion and the allegorical nature of the good-evil dichotomy.
What the audience generally expects is for the way their expectations are satisfied to differ. The phantasy element and the comic genie in this inject ingest it popular. The audience cannot possibly be surprised at the rhetorical pattern of the film, but they may be surprised at the way in which the pattern is created, conveyed, and ultimately solved. Indeed, without that degree of surprise, it is unlikely that the film would be as popular as it is.
Settings: The settings for this film are the desert, exotic bazaars, a minaret-topped castle, and a deep and magic underground cavern. These indicate where the action takes place in this film, though they are not real places nor are intended to be taken as real places. For one thing, this is an animated film, and though it cogency be based on real locations, it does no more than evoke a sense of what real locations might be like. In addition, these locations are drawn from mythology rather than reality. There is a desert in Arabia, but the desert in this film is only the idea of a desert and not
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