Toporefs and Chronotopic Archetypes

The purple ('direct') and orange ('indirect') connections on the toporefs and chronotopic archetypes map depict a clear break between the realms of fantasy and the real through the associated toporefs.  The mundane sites of the familiar ('direct') contrast with the grand vistas of fantasy ('projections'), which demonstrates the importance of defining the connective role. Just as the complete map identified three key locations, so too do the chronotopic forms highlight a relation between three central 'states' – this trio present a very different display of narrative priorities, as the euphoric dream-state is de-emphasised and the idea of crossing thresholds and boundaries instead forms the interpretative core. The three key forms beget and perpetuate each other, leading to a cycle that is only broken by a loving intervention. The sensory triptych observable here runs counter to the expectations of the spatial frames.  The home – rather than providing the expected security and comfort – becomes instead a site of suffering, of withdrawal from a longed-for state. Here the need to generate a distinct map series for each character (Lizzie/ Laura) is strongly felt since both engage with the same spaces but one does so in order to give into temptation whilst the other resists it.