Slides for lecture on the hero's journey and other structuralist approaches to myth, legend, tales, and other forms of storytelling, including Hollywood film. Day 2 of Digital Narrative Theory and Practice, Berklee College of Music.

1. LHUM P433: Digital Narrative Theory & Practice
LHUM P433: Digital Narrative Theory & Practice
Dr. Lori Landay
Dr. Lori Landay
Berklee College of Music
Berklee College of Music
Myths & Stories

2. Some questions before we
begin
Universal or Particular?
What do myth and story do?
What do we gain from focusing on the
commonalities?
Do we lose anything?

3. Joseph Campbell: The Hero’s Journey
Separation / departure: the separation of the hero from the normal world.
I.1 The Call to Adventure
I.2 Refusal of the Call/Acceptance of the Call
I.3 Supernatural Aid
I.4 Crossing of the First Threshold
I.5 Entering the Belly of the Whale
II. Initiation: hero is initiated into true heroic stature by various trials and rites. Through daring and
battle, the true character emerges.
II.1 Road of Trials
II.2 The Meeting with the Goddess
II.3 Woman as Temptress Campbell & Star Wars
II.4 Atonement with the Father
II.5 Apotheosis
II.6 The Ultimate Boon
III. Return: After initiation the hero can be cleansed and return in triumph to deserved
recognition, although this in itself may not be without its trials and tribulations.
III.1 Refusal of the Return
III.2 Magic Flight
III.3 Rescue From Without
III.4 Crossing of the Return Threshold
III.5 Master of the Two Worlds
III.6 Freedom to Live

4. Christopher Vogler’s Version http://ed.ted.com/on/nNIut0NT
http://www.thewritersjourney.com/
ney.htm

5. Propp: A Structuralist Approach
Character Types
The Hero
The Helper
The Villain
The False Hero
The Donor
The Dispatcher
The Princess
The Princess's Father

6. Propp's 31 Functions of the Folktale:
Preparatory Section:
l. One of the members of Structuralist Approach home.
Vladmir Propp: A a family absents himself from
2. An interdiction (ban) is addressed to the hero.
3. The interdiction is violated. (The villain usually enters the story here.)
4. The villain makes an attempt at reconnaissance.
5. The villain receives information about his victim. (The villain gets an answer.)
6. The villain attempts to deceive his victim by using persuasion, magic, or deception.
7. The victim submits to deception and thereby unwittingly helps his enemy. (Hero sleeps.)
Villainy / Lack (Plot set in motion):
8. The villain causes harm or injury to a member of a family.
8a. One member of a family either lacks something or desires to have something.
9. Misfortune or lack is made known: the hero is approached with a request or command; he
is allowed to go or he is dispatched.
10. The seeker (hero) agrees to or decides upon counteractions.
11. The hero leaves home.
12. The hero is tested, interrogated, attacked, etc. which prepares the way for his receiving
either a magical agent or helper. (The donor usually enters the story here.)
13. The hero reacts to the actions of the future donor.
14. The hero acquires the use of a magical agent.
15. The hero is transferred, delivered, or led to the whereabouts of an object of search.

7. Propp's 31 Functions of the Folktale (continued):
Vladmir Propp: A Structuralist Approach
Vladmir Propp: A Structuralist Approach
Path A: Struggle and Victory over Villain; End of Lack and Return:
16. The hero and villain join in direct combat.
17. The hero is branded.
18. The villain is defeated.
19. The initial misfortune or lack is liquidated.
20. The hero returns.
21. The hero is pursued.
22. The hero is rescued from pursuit.
Path B: Unrecognized Arrival, Task, Recognition, Punishment, Wedding:
23. The hero, unrecognized, arrived home or in another country.
24. A false hero presents unfounded claims.
25. A difficult task is proposed to the hero. (Trial by drink, fire, riddle, test of strength.)
26. The task is resolved or accomplished.
27. The hero is recognized, often by a mark or an object.
28. The false hero or villain is exposed and / or punished.
29. The hero is given a new appearance.
30. The villain is pursued.

8. What are your thoughts on the hero's
journey? Or Propp’s structuralist approach?
What does it illuminate as an organizing
principle of narrative?
Leave out?
Are there other models?