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โครงการรวบรวมและจัดทําเอกสารวารสารอิเล็กทรอนิกส์ มหาวิทยาลัยเกษตรศาสตร์

วารสารมนุษยศาสตร์ ปีที่ 21 ฉบับที่ 1 (มกราคม-มิถุนายน 2557) 219

In addition, when considering the power of figurative language in
connection with the classification of two types of fantasy namely marvelous
fantasy story and uncanny fantasy story (Todorov, 1970 cited in Scholes,

1975), it appears that the five common types of figurative language found in
this study create phenomena of the two types of fantasy. To illustrate, firstly,
figures of speech found in several contexts of these two films created various
fantastic senses in different themes, settings, and characters reflecting a self
explanatory or marvelous fantasy perception. The audience can understand
these perceptions without having to compare events with their real life

situations. For example, when the researcher reviewed the films, it appeared
quite easy for the audience to understand messages conveyed by figurative
expressions reflecting the supernatural theme related to the legend between
Gods and mankind because it is a universal belief that God is beyond
mankind. On the other hand, for uncanny fantasy story, the displays of these

figurative devices can create a perception in the audience only if they make
connection to their real life situations. For example, the sense of universal
value conveyed by personification (e.g., the general truth of ‘time’) can be
better perceived only if the audience connects the messages (conveyed
through those linguistic expressions) with the reality they have experienced in
their real lives. In brief, both marvelous and uncanny fantasy stories can be

created with the device of figurative language.

Implication
The findings obtained in this study have some implications for

learners (also as viewers of fantasy stories) and professionals in various
fields, particularly those whose works are related to English fantasy literature.
Firstly, the findings help readers to have an understanding that figurative