...Javed S. Ali Professor Miller GNHU-285 15 April 2015 Reflection Paper #3: Hero’s Journey In Greek Mythology, stories often seem to fit a certain pattern known as the Hero’s Journey Structure, which chronologically describes the journey of a specific archetype known as the Hero. Within this structure, there are twelve stages: The Ordinary World wherein the everyday world of the hero is described and some sort of stress is developed; The Call to Adventure wherein the tension is further strained by external pressures; Refusal of the Call wherein the hero attempts to turn down the adventure or another character might describe the incoming danger; Meeting with the Mentor wherein the hero receives counseling, training, or weapons and gear necessary...
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...The stories of Theseus and Beowulf both share the common archetype of a quest which the hero needs to complete and the hero also engages in an ordeal which is a natural step within their journey. Beowulf was summoned by Hrothgar to find and slay the beast by the name of Grendel who “found sleeping the troop of warriors, and bore away in his foul hands thirty of the honored thanes” (Rabb 1). Hrothgar gave Beowulf the quest to kill Grendel to prevent him from taking more lives. The quest is a common archetype in mythical tales because it is used to set up the hero’s journey by providing an overall reason for the hero to embark on a dangerous adventure. Similarly, Theseus chose to engage in a quest to kill the minotaur which was used to devour...
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...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 or general to be of much usefulness in comparative mythology. Others say that the hero's journey...
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...------------------------------------------------- Ishmael Question 1 In the novel, Ishmael, the phrase that the gorilla uses to represent society’s creation of a reality for an individual and a group is Mother Culture Question 2 at the end of the novel, the narrator expresses the idea that what he wants from Ishmael is a program Question 3 Daniel Quinn wrote the novel “Ishmael” in the twentieth century Question 4 According to Ishmael, if the takers accumulate knowledge about what works well for things, the leavers accumulate knowledge about what works well for people Question 5 The premise being acted out by Leaver cultures, according to the novel, Ishmael, is humanity belongs to the world Question 6 In the novel, Ishmael, the gorilla says there are two stories being enacted by humans at the present time: the takers and the leavers Question 7 Based on the text of the novel Ishmael, complete the following analogy. The Takers are to the Leavers as Cain is to Abel Question 9 In the novel, Ishmael, the dialogue eventually deals with a biblical story. Which biblical story is a key part of the novel? Garden of Eden Question 10 There are two trees in the biblical story of the garden of Eden, as recounted by Ishmael. One tree is the tree of the knowledge of good and evil. The other tree is the tree of Life Question 11 According to the novel, Ishmael, if the Takers know the one right way to live, Leavers know the way that they prefer to live Question 12 ...
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...Mr. King Honors English II Oct. 28, 2011 “Archetypes for a Contemporary Audience” Myths are an important cultural aspect that were, and are to this day, used commonly to help teach morals and life lessons. Strength, courage, and fortitude are just a few characteristics addressed in mythology. The archetypal layout of an exemplary story is composed of the Twelve Stages. The Twelve Stages of a hero’s journey are the steps every person must take in order to prove one’s self as a hero. Mythical heroes such as Theseus, Sigurd, and Beowulf clearly demonstrate the archetypal qualities of a hero. A typical hero is seen as a morally just individual, with a noticeably ethical intent. An archetypal quality of a hero is moral goodness. The hero is always opposing evil and wrong-doing, while attempting his best to halt it. The hero is selfless always willing to give his life in place of another. A villain, or monster, is the opposed force of the hero, whose intent is solely based around a malicious and self-centered motive. The shadow-self of a character is often portrayed as the villain, or monster, but it has a much greater importance. The shadow-self illustrates the two extremes of a personality. Since the shadow-self is the complete opposite of a character, the good and bad qualities of that character are shown, the shadow self of a character can have both good and bad aspects. When someone is able to control the good aspects of both characters, the individual is able to grow and...
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...Mga Piling Linya sa Tula na Ginamitan ng Tayutay 1. Animang Pantig •Kung ano ang buhay, siyang kamatayan... Ang hirap ko’y alam ng iyong kariktan tapatin mo lamang yaring karaingan At bigyan ng buhay, ang pag-asang patay! --Oksimoron (www.tagaloglang.com) •Siya ang berdugo Na bahid ng dugo Hawak ay gatilyo Dugo’y kumukulo. --Metapora Berdugo ni Greg Bituin •Palaman ko ay margarin Kaya malinamnam ito Para akong nasa bangin Ng paglayang pangarap ko. --Simile Pandesal ni Greg Butuin 2. Waluhang Pantig •Ang pag-ibig ko sa iyo ay lansones na malasa Ganyan din ang pagsinta mong may lamukot na ligaya. --Metapora Parang Buto ng Lansones •Ngunit ang suyuang iyan kapag naging paglililo Parang buto ng lansones sa sinumpang paraiso! --Simile Parang Buto ng Lansones •Bawat hukay, bawat libing Ay isa lang pintong bukas Na patungo sa lupaing Maligaya't walang wakas. --Sinekdoke Bawat Hukay (http://panitikan.hostingsiteforfree.com/criticism/mulasatradisyontungosakongregasyon.htm) 3. Labindalawahing Pantig •May isang lupain sa dakong silangan Na nag-aalaga ay sikat ng araw kaya napatanyag ay sa kagandahan at napabalita sa magandang asal. --Hyperbole (Panitikang Pambata) •Habang nagduruyan ang buwang ninikat sa lundo ng kanyang sinutlang liwanag, isakay mo ako gabing mapamihag sa mga pakpak mong humahalimuyak. --Apostrope (Panitikang Pambata) •Ang puso'y lumukso sa pagkakakita nitong bahagharing pagkaganda-ganda. --Personipikasyon (Panitikang...
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...THE HERO WITH A THOUSAND FACES JOSEPH CAMPBELL BO I. L I N G EN SERIES XVII PRINCETON UNIVERSITY AND PRESS P R I N C E T O N OXFORD Copyright © 2004 by Princeton University Press Published by Princeton Unhxmt^Pms, U WiffiaM SUrtt, Pnnceton, New Jersey 08540; im^inii!-. •:-..• punght i 1-49 by Botiingen e d i t i o n l n ' i l h Foundation, rc't.'itii.yi •: • andpttt t*j''!' !_•"' . !.,.: b% :''ohi: •• Bough, one-volume edition, p. 386. Copyright, 1922 by The MacmiUan Company and used with their permission). Compare Sigmund Freud: "I recognized the presence of symbolism in dreams from the very beginning. But it was only by degTees and as my experience increased that I arrived at a full appreciation of its extent and significance, and I did so under the influence of . . . Wilhelm Stekel. . . . Stekel arrived at his interpretations of symbols by way of intuition, thanks to a peculiar gift for the direct understanding of them. . . . Advances in psycho-analytic experience have brought to our notice patients who have shown a direct understanding of dream-symbolism of this kind to a surprising extent. . . . This symbolism is not peculiar to dreams, hut is characteristic of unconscious ideation, in particular among the people, and it is to be found in folklore, and in popular myths, legends, linguistic idioms,, proverbial wisdom and current jokes, to a more complete extent than in dreams." {The Interpretation of Dreams, translated by...
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...GREEK MYTHOLOGY Background to Homer’s Odyssey As you read each story, ask yourself: What is most enjoyable, predictable, or bizarre about this story? How would I have responded in this situation? What mysteries or features of the world might this story try to explain? What bit of moral or religious instructions (i.e. don’t disobey the gods) might be contained in this story? How does this story compare with Christian beliefs, or with the values of our culture today? Are there any other stories or fables I’ve heard that follow the same pattern as this story? The Creation Myths Part 1 Before there was anything, there was Chaos, a formless void. This void, this pure nothingness, gave birth to Gaea (the Earth itself), Tartarus (the underworld), Eros (love), Erebus (underground darkness) and Nyx (the darkness of night). The two kinds of darkness joined together and gave birth two kinds of light: the Light of the heavens and the Light of day. Nyx (night) also gave birth to the three Fates, who control the course of the universe and determine the length of each person’s life on their wheel of fortune. Of the fates, Clotho spins the threads of each person’s life, Lachesis measures the length of the thread, and Atropos cuts the thread. The Fates – Francisco Goya (one of the best painters ever!) 1823 – Note the scissors in the hand of Atropos and Lachesis measuring with a magnifying glass. Who’s...
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...JAMES JOYCE -AN IRISH MODERNIST MODERN FICTION GROUP NUMBER 4 GROUP MEMBERS : HAFSA SHAHID R CONTENTS: Introduction to James Joyce Modernism and James Joyce A portrait of an Artist as aYoung Man Ulysses Themes and Style of Joyce's two Works a) Mythological Allusions b) Kunslerroman c)Stream of conciousness c)Focus on inner time rather than outer time d)Search for identity e)Treatment of religion f)Treatment of sexuality Conclusion James Joyce (from February 2, 1882 to January 13, 1941) was one of the most preeminent Irish authors of the 20th century. He is known for his literary innovation strictly focused narrative and indirect style. James Joyce matriculated from University College of Dublin in 1903. After moving to Paris, Joyce planned on studying medicine. The lectures were conducted in a technical French but Joyce’s education had not prepared him for it. Despite his mother’s attempts to get him to return to Catholic Church, Joyce remained unmoved even after her death. Joyce studied at Clongowes Wood College from 1888 until 1892. When the family’s financial state devolved, Joyce had to leave the school. After a brief time at Christian Brothers School, Joyce was enrolled at Belvedere College in 1893. In 1898, Joyce began studying Italian, English and French at University College Dublin. At this time, Joyce also began his entry into the artistic...
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