...fairytales contain character archetypes, but they also include situational archetypes such as quests, impossible tasks, or the triumphs of the poor. Although all fairytales have different plots, they are all extremely similar to each other due to the common motifs and archetypes that are present in all fairytale stories. To determine whether a story is a fairytale or not is incredibly easy because one can easily discover numbers of motifs and archetypes that are exhibited throughout the story. The Wonderful Wizard of Oz by L. Frank Baum is a story about a girl named Dorothy who is sent to fulfill arduous tasks and lengthy quests in order to find her way back home. As she tries to find her return home, she has many rough encounters with evil but is assisted by various characters and eventually returns home safely. The Wonderful Wizard of Oz would be considered a fairytale because of the common motifs and archetypes that are present and consistent throughout the story. The motifs and archetypes in the story are the hero, the trickster, the talking animals or objects, the glorified human strength of kindness, and the guardian. The hero archetype in The Wonderful Wizard of Oz proves that this story is a fairytale and is evident through the actions of Dorothy. Dorothy is a little girl from Kansas that is taken away from her homeland by a cyclone that took her and her house into a wonderful country known as the Land of Oz. Dorothy is considered the hero archetype because the story revolves...
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...The Lion King and Hamlet Essay The Lion King & Hamlet - Comparative Essay “All it takes for Evil to prevail in this world is for good men to do nothing.” Disney’s The Lion King placed a children’s façade on a very serious story of responsibility and revenge. This theme, however, is one of the oldest in history, and while it is not the most apparent, it does exist by William Shakespeare. The Lion King seems not to be based on a fairytale, but rather on the Tragedy of Hamlet by William Shakespeare. The basic character archetypes are concealed, and the storyline is simplified for children. But with a closer inspection of the characters themselves and the storyline, we the seasoned readers, can see just how apparent these similarities are. The story of The Lion King closely parallels that of Hamlet. It is about the jealousy of an uncle named Scar towards his nephew, Simba, who is the son of the king, and rightful heir to the throne. This jealousy drives him to take drastic action to secure himself to the throne. The only way he can do this is to kill his brother, King Mufasa and Simba. He accomplishes this by killing Mufasa and goes on to become the King of the Pride Lands and leader of the pack, thus “marrying” Simba’s mother, Sarobi. After the plan that Scar puts into action is completed, Scar finds his plan was only half successful; Simba survives. However, the clever, smooth talking uncle tricks the young and susceptible Simba into thinking that he is responsible for...
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...Jason Lee English 1A Adam Sandel March or so Simba’s Journey The Lion King is a true hero's journey that takes place in the savannas of Africa. The title "the Lion King" emphasizes that a lion is king, most likely referring to the main character, Simba. Simba is the main hero in the story because he regains his kingdom and defeats evil. The main character's archetype is "king"; he takes responsibility for his actions and his kingdom, he regains order and control. Simba takes part in a hero's journey by being a part of the departure, initiation, and the return. Simba was banished from his homeland by his evil uncle Scar's hyenas (who acted as his personal army and assistants), who were really supposed to kill him. He is found by Timon and Pumba, a meerkat and warthog, and he grows up in a paradise-like jungle with them. Years later, Simba's best friend from the pride lands comes in search of help and happens to find Simba by chance. She asks him to return because of Scar's oppressing reign but he refuses. Simba wouldn't tell her the reason for his refusal, but it was because he believed his father's death was his fault. Rafiki, the story's baboon "sage", leads Simba into an enchanted jungle of tangled trees and roots, where he says Simba's father, named Mufasa, isliving (even though he is really dead). He is led to a small pool of water, where Rafiki tells him to look in the water and try to see his father. He looks, but only sees a reflection of himself. When...
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...for many mermaids swim their thoughts, princesses get swept of their feet, and lions roar to their loyal place in the animal kingdom. There is no doubt that today’s entertainment has most of its touch using classical influences. Walt Disney has produced animated films that have captured the heart and imagination of audiences of all ages around the world through the magic of storytelling and imagery. Many of us appreciate the imagination and magic that Disney puts into its animations with out knowing they are based off of classical and traditional storylines that have been around for many years. For example the Disney movie The Lion King that is based off of the classical Shakespeare play Hamlet. The Lion King is possibly the most well known movie of the Disney collection that portrays a strong moral to its viewers. The journey that is taken by the characters in this movie is one from innocence to experience through confronting challenging situations. Just how Disney uses magic and imagination to capture its audience William Shakespeare also captured the hearts of people everywhere through the representation of emotions and feeling in his plays. Hamlet is without a question one of the most famous play in English literature. Through Hamlet Shakespeare shows a brilliant depiction of the hero’s struggle with two opposing forces, moral integrity, and the need to avenge his fathers murders. Both The Lion King and Hamlet are stories that share parallels and capture the human eye through...
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...radi An analysis of storytelling and Joseph Campbell’s universal themes and their role in animated films. Theodore Hicks Word count: 1,711 Feedback: quite broad terms. Where there is some analysis it is very short and this needs developing further. Much of this is down to Analysis, Argument There is some analysis here but it is very limited. ON the whole you are describing events and stories in animation in quite broad terms. Where there is some analysis it is very short and this needs developing further. Much of this is down to your choice of question. If you had picked a couple of Disney/Pixar films and analysed them in more detail in relation to Campbell, your essay would have been more focused. Outlining this narrowing in the question will help with this, as reading the essay, this is where the topic really lies. You need to be able to show Campbell’s theories working across more than one film for it to be a successful piece of analysis at this stage, and in doing so, it will help you reach a central argument about the use of Campbell’s theories in discussing these films – at the moment this doesn’t happen. This is the section you need to work on the most, to increase your word count and extend the overall discussion. Structure, communication, referencing/bibliography The structure is generally ok, with an introduction, and a conclusion. You need to work on some of the in between sections as the essay jumps between ideas of outlining theories, linking some...
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...Disney Heroines and America: Yesterday and Today Haley Hayes English 311c Section 02 Movies reflect current American values. Symbols and signs of these shifting values creep into every aspect of the American people’s lives. The entertainment industry provides an example by depicting the powerful influence animated heroines have on cultural trends. In animation, the heroine archetype has come to mean the “ideal person”: a symbol of the qualities, attitudes, popular trends, and those socially acceptable norms which are the most desirable. Has the public brought this upon themselves by buying into the movie-madness scheme, which dictates how one should think, feel, and, in part, be? This introduces another interesting question: Does the shift in societal values affect the nature and content of animation, or do the values portrayed in animation and public’s willingness to be overpowered create these changes in American beliefs? Regardless of which comes first, analyzing a character is synonymous with analyzing the culture from which the character is spawned. These symbols in animation, unfortunately, don’t always depict America’s best values and more often than not are targeted at children. Truly, the influential impact of animation on children is most perfectly depicted in the famed Walt Disney Heroines. These Disney girls have come to reflect America’s ever-changing values and the evolution of its popular culture. Despite the public’s initial skepticism...
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...------------------------------------------------- Monomyth From Wikipedia, the free encyclopedia "The Hero's Journey" redirects here. For other uses, see The Hero's Journey (disambiguation). The twelve stages of the hero's journey monomyth following the summary by Christopher Vogler (originally compiled in 1985 as a Disney studio memo): 1. TheOrdinary World, 2. The Call to Adventure, 3. Refusal of the Call, 4. Meeting with the Mentor, 5. Crossing theThreshold to the "special world", 6. Tests, Allies and Enemies, 7. Approach to the Innermost Cave, 8. The Ordeal, 9. Reward, 10. The Road Back, 11. The Resurrection, 12. Return with the Elixir. In narratology and comparative mythology, the monomyth, or the hero's journey, is the common template of a broad category of tales that involve a hero who goes on anadventure, and in a decisive crisis wins a victory, and then comes home changed or transformed.[1] The concept was introduced by Joseph Campbell in The Hero with a Thousand Faces (1949), who described the basic narrative pattern as follows: A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.[2] Campbell and other scholars, such as Erich Neumann, describe narratives of Gautama Buddha, Moses, and Christ in terms of the monomyth. Critics argue that the concept is too broad...
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...Ancient Peruvian mythology is rich with creatures, kings, and conquests from prominent cultures like the Incan Empire and Tiwanaku civilization. One of the myths is of a huge, double-headed water serpent with birdlike wings and feet that emerges from underground in times of revolution. This creature, called the Amaru, comes from the spiritual world and is often associated with water (Steele). Danilo Sanchez Lihón’s Spanish children’s book El Amaru, Semidios del agua features this mystical beast (the subtitle Semidios del agua translates to water demigod). Lihón, a Spanish poet and novelist, wrote this book to encourage literacy and reading among Spanish speaking children (Press Release). While he does not give an age bracket, El Amaru is most likely written for children between ages 8...
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...abaft (adv.) on or toward the rear of a ship The passengers moved abaft of the ship so as to escape the fire in the front of the ship. abandon (v.; n) to leave behind; to give something up; freedom; enthusiasm; impetuosity After failing for several years, he abandoned his dream of starting a grocery business. Lucy embarked on her new adventure with abandon. abase (v.) to degrade; humiliate; disgrace The mother’s public reprimand abased the girl. The insecure father, after failing to achieve his own life-long goals, abased his children whenever they failed. abbreviate (v.) to shorten; compress; diminish His vacation to Japan was abbreviated when he acquired an illness treatable only in the United States. abdicate (v.) to reject, renounce, or abandon Due to his poor payment record, it may be necessary to abdicate our relationship with the client. aberrant (adj.) abnormal; straying from the normal or usual path The aberrant flight pattern of the airplane alarmed the air traffic controllers. His aberrant behavior led his friends to worry the divorce had taken its toll. abeyance (n.) a state of temporary suspension or inactivity Since the power failure, the town has been in abeyance. abhor (v.) to hate By the way her jaw tensed when he walked in, it is easy to see that she abhors him. The dog abhorred cats, chasing and growling at them whenever he had the opportunity. abject (adj.) of the worst or lowest degree ...
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...Dragon Name Dragon The word dragon entered the English language in the early 13th century from Old French dragon, which in turn comes from Latin draconem (nominative draco) meaning "huge serpent, dragon", from the Greek word δράκων, drakon (genitive drakontos, δράκοντος) "serpent, giant seafish". The Greek and Latin term referred to any great serpent, not necessarily mythological, and this usage was also current in English up to the 18th century. Morphology A dragon is a mythological representation of a reptile. In antiquity, dragons were mostly envisaged as serpents, but since the Middle Ages, it has become common to depict them with legs, resembling a lizard. Dragons are usually shown in modern times with a body like a huge lizard, or a snake with two pairs of lizard-type legs, and able to emit fire from their mouths. The European dragon has bat-like wings growing from its back. A dragon-like creature with wings but only a single pair of legs is known as a wyvern. Comparative mythology Further information: Chaoskampf, Sea serpent, Proto-Indo-European religion § Dragon or Serpent and Serpent (Bible) The association of the serpent with a monstrous opponent overcome by a heroic deity has its roots in the mythology of the Ancient Near East, including Canaanite (Hebrew, Ugaritic), Hittite and Mesopotamian. Humbaba, the fire-breathing dragon-fanged beast first described in the Epic of Gilgamesh is sometimes described as a dragon with Gilgamesh playing the part of...
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...introduction 'Earthly life passed before the half, I found myself in a dark forest ... "- With these lines begins one of the greatest and most brilliant works of world literature - "Divine Comedy" by Dante Alighieri. "This is a poem about the Dante," danteida, "and at the same time, a poem about a man who, descending and ascending the ladder of the universe, cleaned, and acquires perfect knowledge." People at all times sought to know the universe. And he could not. Maybe that's why his "comedy" to this day loved by ordinary readers and critics, and researchers are still hotly debated around her, every day, opening in this work, something new, not yet solved. "" Comedy "- it's poetry, which has become itself the judge, interpreter, and the key to unlocking secrets" - rightly remarked Alexander L. Dobrokhotov in his book "Dante Alighieri". The theme of my work - "The conductors and the twins Dante and their functions in the" Divine Comedy. '"I think for most of its first full disclosure should understand that in general it is a product. First, the genre of "Comedy" - a vision. The entire poem - a "journey to the underworld, this poet in a vision." However, it is worth noting that "in the" Divine Comedy "the central character - not an abstract" I "and Dante with all the features of his personality and life events of the past ... At the same time," Comedy "is a fiction that develops on the literary laws." Dobrokhotov draws our attention to the fact that "the combination of...
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...1. Theological Arguments: Theism vs. Atheism Assuming God to have, at least, the properties of omnipotence, omniscience and ‘omni-goodness’ (being all-good) evaluate one argument for the existence of God and one argument against the existence of God. Explain each argument and show why it is potentially helpful or dangerous for the theist. Then, explain which of these arguments you find more convincing, and why. 2.Comparing Religions: Compare the worldview of one of the monotheistic religions we have discussed with one other religion we have studied, mono or polytheistic. Explain three specific points of similarity and three clear differences in each world view. Given these similarities and differences, would you say the two religions compared are fundamentally at odds or in agreement concerning their understandings of human transformation in response to perceived ultimacy? 3.Buddha, Jesus, Mohammad: Compare and contrast TWO of the three figures above. Using specific examples, explain a major similarity and a major difference in the account of their lives, their teachings, and in the role given to each by their respective religions. Who do you find to be the more compelling spiritual leader and why? 4.Compare two different sects of the same western religion, either Judaism, Christianity or Islam. Explain three major ways the sects are similar in their understanding or practice of the religion, and three major differences. Based on the similarities and differences...
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...CTCS 466 LECTURE NOTES 1/17: John Dies At the End * CTCS 466 * Former Professors * Arthur Knight * Charles Chaplin * Former Students * Ron Howard * Robert Zemeckis * 16 mm/35 mm * Brotherly Love (Popeye), Max Fleischer * Original song * Made for adults as well as children * Take place in cities * As opposed to the barnyard settings of early Disney * Classic cartoon * Postmodern cartoon (The Simpsons) * Digital Cinema Print (DCP) * Ted Mundor, Landmark Theatres * Career * Monsters Magazine Film Fan Monthly (13 y.o.) * Movies on TV & TV Movies (17 y.o.) * American Society of Cinematographers (ASC) * Gene Shalp, The Today Show * Bruce Cook, Entertainment Tonight * Theme: Great Moments from Movie Musicals * “Somewhere Over the Rainbow”, The Wizard of Oz * Only a few cuts * Simplicity requires confidence * Contrast with the circus of Les Miserables * Remains in character without melodrama * Impression that she actually is singing * She is very much still Dorothy Gale, not Judy Garland * John Dies At the End * Phantasm * Bubba Hotep * Horror + Fantasy + Comedy * Based on novel of the same name * Don Coscarelli (Director/Producer) * Loved...
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...AS Religious Studies [pic] PHILOSOPHY & ETHICS Revision Summary Notes Revision Notes Foundation for the Study of Religion Part One: Philosophy of Religion Plato and the Forms Influence of Socrates • Socrates said that virtue is knowledge – to know what is right is to do what is right. • All wrongdoing is the result of ignorance – nobody chooses to do wrong deliberately. • Therefore, to be moral you must have true knowledge. The problem of the One and the Many Plato was trying to find a solution to the problem that although there is underlying stability in the world (sun comes up every morning), it is constantly changing (you never step into the same river twice). 1. An old theory about this problem is that we gain all knowledge from our senses – empirically. 2. Plato disagreed with this. He said that because the world is constantly changing, our senses cannot be trusted. Plato illustrated his idea in the dialogue, ‘Meno’: Socrates sets a slave boy a mathematical problem. The slave boy knows the answer, yet he has not been taught maths. Plato suggests that the slave boy remembers the answer to the problem, which has been in his mind all along. So, according to Plato, we don't learn new things, we remember them. In other words, knowledge is innate. Plato’s Theory of the Forms Plato believed that the world was divided into: 1. Reality and; 2. Appearance |REALITY ...
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...If it is not, it is not Buddhism.” Walpola Rahula: “Buddhism is based on service to others”…political and social engagement is the “heritage of the bhikkhu” and the essence of Buddhism. Robert Thurman: “The primary Buddhist position on social action is one of total activism, an unswerving commitment to complete self-transformation and complete world-transformation.” Stated in simplest terms, engaged Buddhism means the application of Buddhist teachings to contemporary social problems. Engaged Buddhism is a modern reformist movement. A practitioner is socially engaged “in a nonviolent way, motivated by concern for the welfare of others, and as an expression of one’s own practice of the Buddhist Way” (King Being 5). In this description Sallie B. King invokes the spirit of the Bodhisattva vow: May I attain Buddhahood for the benefit of all sentient beings. According to Ken Jones engaged Buddhism is “an explication of social, economic, and political processes and their ecological implications, derived from a Buddhist diagnosis of the existential human condition” (Kraft New). Jones emphasizes the social theory underlying engaged Buddhism. According to engaged Buddhists the “three poisons” of greed, anger and ignorance apply both to the individual and to “large-scale social and economic forces” (Kraft New); their remediation is therefore the collective concern of society. As the subject of numerous treatises, anthologies, lectures and symposiums, engaged Buddhism plays...
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