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Hero Cycle
 

Hero Cycle

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  • http://www.bhagavad-gita.org/Images/jung.jpg Collective unconscious = a pool of inherited psychic residue accumulated since the beginning of the human race, an echo of the sum of experience accessible to all humans, that manifests itself through archetypes, or patterns of expression.
  • Photo from http://www.purereason.org/images/jung.gif; quotation from “Jung on Mythology,” p. 63
  • Picture from http://www.purereason.org/images/jung.gif; quotation from “Jung on Mythology,” p. 63
  • Picture from http://www.garyflegal.com/UniversalMan.jpg
  • Photo from http://www.jcf.org/jcbio1.htm
  • Photo from http://www.amra.pl/star/20.jpg
  • Picture from http://www.mythsdreamssymbols.com/images/joe.gif; quotation from “The Hero with a Thousand Faces,” p. 51
  • http://img-fan.theonering.net/rolozo/images/howe/gandalf.jpg
  • Quotation from “The Hero with a Thousand Faces,” p. 59
  • Picture from http://www.mythsdreamssymbols.com/images/joe.gif; quotation from “The Hero with a Thousand Faces,” p. 60
  • Photo from http://www.clipart.com
  • Photos from http://www.clipart.com
  • Picture from http://www.uh.edu/engines/romanticism/barque-dante.jpg [ Eugene Delacroix, “ The Barque of Dante,” 1822 (150 Kb); oil on canvas, 189 x 242 cm (74 1/2 x 95 1/4"); Musee du Louvre, Paris]
  • Picture from http://www.mythsdreamssymbols.com/images/joe.gif; quotation from “The Hero with a Thousand Faces,” p. 69
  • Picture from http://www.mythsdreamssymbols.com/images/joe.gif; quotation from “The Hero with a Thousand Faces,” p. 77
  • Picture from http://www.forgottenoh.com/Drains/gates2.jpg; quotation from “The Hero with a Thousand Faces,” p. 90
  • http://www.popularmechanics.com/science/research/2001/11/science_solves_more_mysteries/images/lg_Jonah.jpg
  • Boris Vallejo, “Flying Serpent,” at http://www.borisjulie.com/details.cfm?Id=604
  • p. 97
  • Picture from http://www.tigtail.org/TVM/X2/c.PImpressionism/moreau/M/moreau_hesiod+his_muse.1891.jpg
  • p. 111, 116
  • Picture from http://www.artrenewal.org/images/artists/b/Bouguereau_William/large/Naissance_de_Venus.jpg
  • p. 125
  • Herbert James Draper, Odysseus and the Sirens , 1909, now at the Ferens Art Gallery, Hull. Picture from The Trojan War: An Illustrated Companion , at http://www.calliope.free-online.co.uk/odyssey/pic99.htm http://www.praeraffaeliten.de/bilder/Draper-Ulysses-and-Sirens.jpg
  • Picture from http://scholar.uwinnipeg.ca/courses/38/4500.6-001/Cosmology/time-goya-painting.gif
  • p. 136
  • http://movieweb.com/movie/starwars/coe.jpg
  • p.39 The American Heritage Dictionary
  • http://www.utexas.edu/courses/larrymyth/images/jason/GG-Jason-Dragon-Rosa.jpg
  • p. 173
  • p. 193
  • Boris Vallejo, “The Basilisk, from http://www.imaginistix.com/details.cfm?Id=647
  • p. 197
  • Boris Vallejo, “Alien Visitor,” from http://www.imaginistix.com/details.cfm?Id=769
  • p. 207
  • p. 216
  • p. 229
  • p. 239

Hero Cycle Hero Cycle Presentation Transcript

  • The Hero Cycle
  • I m p o r t a n t Background
  • The Plot of Stories
    • Stories happen in poems, songs, short stories, novels, plays, and films.
    • Plot = the structure of the story
    • There are essentially only two plots:
      • A person leaves on an adventure.
      • A stranger comes to town.
    • Correction: If we ignore point of view, we have only one plot . For the person on the adventure is the stranger who comes to town!
  • Carl Jung
    • 1875 – 1961
    • Swiss psychologist/ psychiatrist
    • Collaborator and friend of Freud
    • Collective unconscious = inherited fantasy life
    • Archetypes = basic components of human psychic nature
    • The hero = an important archetype
  • Just as the human body shows a common anatomy over and above all racial differences , so, too, the human psyche possesses a common substratum transcending all differences in culture and consciousness .
  • I have called this substratum the collective unconscious , … [which] is … the brain structure irrespective of all racial differences .
  • Just as everyone has two arms and two legs, so too does everyone share common ideas for stories and the characters who populate the tales.
  • Joseph Campbell
    • 1904 – 1988
    • Mythologist, college professor, author
    • Campbell’s big contribution: definition of a hero [from mythical to ordinary human]
    • Path with specific stages, all of which the potential hero must travel
  •  
  • First Major Section of the Cycle Departure
  • Stage 1: Call to Adventure
    • A herald or announcer appears
      • Often [but not always ] someone dark, loathly, terrifying, and/or unordinary
      • Sometimes a beast
    • The call is typically heard someplace remote —for example, in a dark forest, near a great tree, beside a babbling spring, etc.
    • The call promises both treasure and danger .
    • The call requires travel to a distant land, forest, or kingdom somewhere underground, beneath the waves, above the sky, on a secret island, atop a lofty mountain—even into a profound dream state.
  •  
  • The call [is] a … moment, of spiritual passage , which, when complete, amounts to a dying and birth . The familiar life horizon has been outgrown; the old concepts, ideals, and emotional patterns no longer fit ; the time for the passing of a threshold is at hand. Campbell says this about the call to adventure :
  • Remember Gandalf from The Lord of the Rings, who called first Bilbo and then Frodo?
  • Stage 2: Refusal of the Call
    • All true heroes at first refuse the adventure.
    • The consequences of finally accepting the call:
      • The person gains self-awareness and control .
      • The person responds only to the deepest, highest, richest answers to problems faced in life.
    • The consequences of always refusing the call:
      • The person loses the power of affirmative action and becomes a victim to be saved.
      • According to Campbell, the person’s “ flowering world becomes a wasteland of dry stones and his life feels meaningless .”
  • The refusal is essentially a refusal to give up what one takes to be one’s own interest . Campbell says this about the refusal of the call :
  • What? You want me to leave and give up all this?
  • Do you want your life to be this, a wasteland of dry stones?
  • … Or do you want your life to be this, a flowering world?
  • Stage 3: Super-natural Aid
    • Usually [but not always] masculine in form
    • Typically a wizard, hermit, shepherd,or smith—someone peripheral to the community
    • Supplies the amulets and advice that the hero will require to begin
  • For those who have not refused the call, the first encounter … is with a protective figure … who provides the adventurer with amulets against the dragon forces he is about to pass. Campbell says this about supernatural aid :
  • Stage 4: Crossing of the First Threshold Threshold Great Unknown Sphere of Knowledge I am so out of here!
  • The hero goes forward in his adventure until he comes to … the entrance zone of magnified power. Beyond … is darkness , the unknown , and danger . Campbell says this about the crossing of the first threshold :
  • Campbell says, “The hero … is swallowed into the unknown, and would appear to have died.”
  • Stage 5: The Belly of the Whale
    • Crossing the threshold is a form of self-annihilation .
    • The belly = the adventure, where the rules are different .
    • The hero is to be born again , undergo a metamorphosis , shed his old character for a new one .
  • Second Major Section of the Cycle Initiation
  • Stage 6: The Road of Trials
    • The hero must put aside pride, virtue, beauty, and life.
    • He must bow and submit to the absolutely intolerable .
    • Dragons must be slain, victories won, barriers passed, ecstasies experienced, etc.-- usually in series of threes .
  • Once having traversed the threshold, the hero … must survive a succession of trials . Campbell says this about the road of trials :
  • Stage 7: Meeting with the Goddess
    • Usually depicted young and/or beautiful
    • Teaches the hero an important lesson .
    • Does not have to be a goddess [such as the Greek Athena or the Egyptian Isis]. Any strong female or feminine force meets the requirements for this stage.
  • [The goddess] is the incarnation of the promise of perfection …. She … guides [the hero] to burst his fetters . Campbell says this about the meeting with the goddess :
  • Stage 8: Woman as Temptress
    • Woman is the metaphor for the physical or material temptations of life.
    • A temptation tries to lead the hero off his path of adventure.
    • The “woman” can be a female , a strong feminine force , or a temptation representing lust , comfort , and/or lack of spirituality .
  • Not even monastery walls, … not even the remoteness of the desert, can defend against female presences ; for as long as the [hero’s] flesh clings to his bones and pulses warm, the images of life are alert to storm his mind . Campbell says this about the woman as temptress :
  • Woman as Temptress: Sirens
  • Stage 9: Atonement with the Father
    • Atonement = at + one + ment
    • The hero encounters his biological father, a father figure , a strong male presence , or someone or something with incredible power .
    • At first, the “father” represents what the hero despises or disagrees with.
    • The hero is killed during the encounter--either literally or symbolically --so that a new self can come into being.
  • There is a new element of rivalry in the picture: the son against the father for mastery of the universe . Campbell says this about the atonement with the father :
  • Eventually, Luke realizes that his father and he share the same potential to be evil.
  • apotheosis n. Exaltation to divine rank or stature; deification; Stage 10
  • Stage 11: The Ultimate Boon
    • All previous steps have prepared and purified the hero for the boon.
    • A difficult task is accomplished with great ease .
    • The boon is sometimes the goal of the adventure--a magical elixir, the holy grail, a golden fleece.
  • The ease with which the adventure is here accomplished signifies that the hero is a superior man , a born king . Where the usual hero would face a test, the elect encounters no delaying obstacle and makes no mistake . Campbell says this about the ultimate boon :
  • Third Major Section of the Cycle R e t u r n
  • The hero-quest requires that the hero return . The responsibility has been frequently refused . Campbell says this about Stage 12, the refusal of the return :
  • What? Leave all of this fun?
  • The final stage of [the hero’s] adventure is supported by all the powers of his supernatural patron … or complicated by … magical obstruction. Campbell says this about Stage 13, magical flight :
  • Magical Flight: Helped or Hindered by Supernatural Powers
  • The world may have to come and get him . Society is jealous of those who remain away from it , and will come knocking at the door. Campbell says this about Stage 14, rescue from without :
  • Stage 15: The Crossing of the Return Threshold Old Sphere of Knowledge The Now Known Unknown Hero’s Reentrance I’m back!
  • He [must] re-enter … where men who are fractions imagine themselves to be complete . Campbell says this about crossing the return threshold :
  • Freedom to pass back and forth across the world division … is the talent of the master . Campbell says this about Stage 16, freedom to live :
  • Master of the Two Worlds Old Sphere of Knowledge The Now Known Unknown The Hero-Now-Master Wherever , whenever , I am free to act!
  • Powerful in insight , calm and free in action , … the hero is the conscious vehicle of the terrible, wonderful Law of the Universe, whether his work be that of butcher , jockey , or king . Campbell says this about Stage 17, master of two worlds :
  • What You Need to Know for the The Hero Cycle Exam Or Your Road of Trials
  • Part 1, Day 1: Readings, Music, and Film Clip
    • Part 1 will evaluate a new film clip.
    • To prepare, do the following:
      • Understand the definition of each stage of the hero cycle so that you can recognize an example of it.
      • Determine which stage(s) of the cycle you can find in the new film I will show you.
  • The End.