"In a moment when you know that you have been born into a universe full of wonder and mystery, you experience a miracle." That's a profound statement from Annie Dillard, a poet and author. But experiencing the miracle of the ordinary does not have to be that profound. In fact, it probably is too intense for most of us to fully comprehend. Mary's approach to spirituality, which is quiet and contemplative, is a far more enduring way to experience the miracle.
Platonism
In Platonism, properties are understood as abstract objects that do not necessarily belong in the physical world. For example, redness is a property that can be found in many objects, but it cannot be identified with red things. This is because redness is a universal property. Contemporary platonists reject this causal relationship. However, a relationship between redness and objects can still exist between them.
Maddy's view is not a form of platonism. It does not take mathematical objects to exist outside of spacetime, so it does not equate "the physical" with "the abstract." Instead, it claims to find truths in nonphysical objects. This is a form of materialism and does not correspond to the philosophy of mind. For example, Platonists believe that objects in spacetime do not have causally-inert properties.
Epistemology
The ontological dimension of miracles is much more complex and requires a more careful study. Scientists are often asked by the Church in Canonical trials to certify the causes of natural phenomena - even if the remark is not based on scientific evidence. But the question of whether this type of phenomenon is truly miraculous cannot be answered by epistemology. Epistemology, after all, is not the same as religion.
For example, theological philosophers have reinterpreted the three dimensions of the miracle in light of their own beliefs and practices. The three dimensions of miracles are essentially similar in the ordinary and the extraordinary, and the theological community has to grapple with the question of how to define a miracle and its distinctive qualities. In the process, theological scholars can further understand the relationship between miracles and the natural world.
Characters
The characters of The Ordinary and The Miraculous differ in some ways. For example, Marinette, who goes by the superhero name Ladybug, is an ordinary teenager who is into boys and has a humorous nature. She dreams of becoming a fashion designer and, as a result, transforms into the superhero Ladybug. As a result, she has to fight akumatized humans in Paris.
The main antagonist of the Miraculous series is Gabriel Agreste, who is the secret villain Hawk Moth and is responsible for the akumatization of Paris. He is also Adrien's father. His purpose is to get the Ladybug Miraculous so that he can use it to change reality. He also plans to use Ladybug and Cat Noir Miraculous to manipulate their powers and change the world.
Style of film
The style of The Ordinary and The Miraculous differs greatly from other films of the same genre. In both cases, Bazin rejects the montage aesthetic, a common characteristic of Hollywood-style continuity editing. Instead, he emphasizes the beauty of long takes and composition in depth. In this style, Bazin uses the term "mise-en-scene," which he borrows from theatre. This term refers to the placement of the camera as it captures a moment in time.
The ordinary style of The Orphanage is less noticeable in The Miraculous, but it remains effective in conveying the film's subject matter: a family in distress. It also lacks the showy cinematic tricks that distinguish other films. While the first-time director's approach may be criticized, it does show sensitivity to the subject matter and convey the feeling of those in the film.