Application of the Hero's Journey for Thor, Critical Thinking,Character Analysis

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There is total 3 thing you need to do about the movie name "Thor" produced by Marvel(this source is the movie) ;( I will show you a example same thing just difference source, I would like you to keep the same format as the example I give to you)

1:Application of the Hero's Journey(There will be a ppt and a document explain how to do)

2:Character Analysis:(there will be a document show you how to do)

Do a character analysis for each of the following characters:

I don't have the character list yet, soon as I get it, I will send it to you

3:Critical Thinking:(there will be a document show you how to do)

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The Hero’s Journey The Origins of the Hero’s Journey • In 1949, scholar Joseph Campbell published his preeminent work, The Hero with a Thousand Faces, in which he explored the idea that every story shares the same basic structure. • He used the term “monomyth” to describe this phenomenon and based his work on ideas such as Carl Jung’s idea of archetypes. • Since then, many scholars have either used or adapted Campbell’s work to fit their needs, such as Maureen Murdock who felt that the journey’s stages didn’t apply to female characters and created the Heroines Journey. • In 1987, the term “Hero’s Journey” was used in a documentary to describe Campbell’s work on the ultimate narrative archetype. The Stage’s of the Hero’s Journey • The Hero’s Journey is generally divided into 17 steps, split into three sections: • Departure • • • • • Call to Adventure Refusal of the Call Supernatural Aid Crossing of the First Threshold Belly of the Whale The Stages of the Hero’s Journey Cont. • Initiation • Road of Trials • Meeting with the Goddess • Woman as Temptress • Atonement with the Father • Apotheosis • Ultimate Boon The Stages of the Hero’s Journey Cont. • Return • Refusal of the Return • Magic Flight • Rescue from Without • Crossing of the Return Threshold • Master of Two Worlds • Freedom to Live Stage One: The Call to Adventure • "... a forest, a kingdom underground, beneath the waves, or above the sky, a secret island, lofty mountaintop, or profound dream state; but it is always a place of strangely fluid and polymorphous beings, unimaginable torments, super human deeds, and impossible delight. The hero can go forth of his own volition to accomplish the adventure, as did Theseus when he arrived in his father's city, Athens, and heard the horrible history of the Minotaur; or he may be carried or sent abroad by some benign or malignant agent as was Odysseus, driven about the Mediterranean by the winds of the angered god, Poseidon. The adventure may begin as a mere blunder... or still again, one may be only casually strolling when some passing phenomenon catches the wandering eye and lures one away from the frequented paths of man. Examples might be multiplied, ad infinitum, from every corner of the world." • -Joseph Campbell • The hero generally begins in some type of mundane, normal situation. (A peasant, a farm boy, an everyday sort of situation). Something occurs (a problem, challenge, or request). This prompts the hero to leave behind his ordinary life and venture into the unknown. • The normality of the hero’s initial situation creates a bond between the hero and the audience. If an ordinary person like the hero can be called upon to set off on some great adventure, then it could happen to anyone. The audience identifies with the hero. • The call also generates tension or conflict. Will the hero respond to the call? Should he? After all, it might be the right thing to do, but it’s also probably dangerous and the hero might be better served just staying at home. This is the first step that might separate the hero from ordinary people – he’s chooses to accept the call into unknown and possibly dangerous circumstances because he’s a hero at heart, regardless of his ordinary upbringing. • This can differ depending on the story – sometimes the hero doesn’t choose to answer the call; he’s forced to under various circumstances. Many times, the call may be ignored until the hero has no choice. Frequently, a mentor or teacher of some kind provides encouragement in acceptance of the call. • Examples: • Harry Potter: Harry receives the letter from Hogworts • Shrek: the invasion of Shrek’s swamp by all the fairy tale creatures Stage Two: • "Refusal of the summons converts the adventure into its negative. Walled in boredom, hard work, or 'culture,' the subject loses the power of significant affirmative action and becomes a victim to be saved. His flowering world becomes a wasteland of dry stones and his life feels meaningless—even though, like King Minos, he may through titanic effort succeed in building an empire or renown. Whatever house he builds, it will be a house of death: a labyrinth of cyclopean walls to hide from him his minotaur. All he can do is create new problems for himself and await the gradual approach of his disintegration.“ • Being an ordinary person, the hero may initially refuse the call. He may have other obligations, feel unworthy, feel it’s not his problem, or simply be frightened. • This builds the tension further, as the audience can see the need for the hero to intervene, even when he can’t. This also, however, humanizes the hero further. The audience can relate to the reluctance to get involved or set off into the unknown. • Example: • • Shrek: Shrek’s refusal to help Donkey Harry Potter: Harry’s refusal to accept that he’s anything more than “just Harry.” Stage Three: Supernatural Aid • "For those who have not refused the call, the first encounter of the hero journey is with a protective figure (often a little old crone or old man) who provides the adventurer with amulets against the dragon forces he is about to pass. What such a figure represents is the benign, protecting power of destiny. The fantasy is a reassurance—promise that the peace of Paradise, which was known first within the mother womb, is not to be lost; that it supports the present and stands in the future as well as in the past (is omega as well as alpha); that though omnipotence may seem to be endangered by the threshold passages and life awakenings, protective power is always and ever present within or just behind the unfamiliar features of the world. One has only to know and trust, and the ageless guardians will appear. Having responded to his own call, and continuing to follow courageously as the consequences unfold, the hero finds all the forces of the unconscious at his side. Mother Nature herself supports the mighty task. And in so far as the hero's act coincides with that for which his society is ready, he seems to ride on the great rhythm of the historical process.” • First, don’t be confused by the word supernatural. In this instance, it doesn’t necessarily mean magical or otherworldly. Campbell is using it in this case in its original meaning: above the laws of nature. Heroes are often prompted to begin their journey by a figure who has stepped outside of the hero’s limited world, learned the ways and laws of the outside world, and has now returned, wiser and able to instruct the hero as a mentor. Often this figure is an outcast of some sort in the hero’s world. Because they have left the limited world of the hero’s origin, they may be regarded as the Other and untrustworthy. This may create a bond between the hero and the mentor, as they both seem different to the rest of world. At other times, the mentor figure may be well respected by the community, but still somewhat remote. This can imbue a sense of honor on the hero when the mentor chooses to assist him. • However, whether outcast or idol, the mentor figure provides the hero with the means to begin their journey. Sometimes this is through information that the mentor figure provides; sometimes it is through some sort of object that that he/she gives to the hero which enables them to complete their quest. However, although the mentor figure can provide the impetus to begin the journey, they are always there only to assist and guide. The mentor figure does not complete the quest for the hero. • Examples: • Harry Potter: Hagrid and later Dumbledore • Shrek: Donkey instructs Shrek in how to be a friend Stage Four: Crossing of the First Threshold • "With the personifications of his destiny to guide and aid him, the hero goes forward in his adventure until he comes to the 'threshold guardian' at the entrance to the zone of magnified power. Such custodians bound the world in four directions — also up and down — standing for the limits of the hero's present sphere, or life horizon. Beyond them is darkness, the unknown and danger; just as beyond the parental watch is danger to the infant and beyond the protection of his society danger to the members of the tribe. The usual person is more than content, he is even proud, to remain within the indicated bounds, and popular belief gives him every reason to fear so much as the first step into the unexplored. The adventure is always and everywhere a passage beyond the veil of the known into the unknown; the powers that watch at the boundary are dangerous; to deal with them is risky; yet for anyone with competence and courage the danger fades." • The hero finally accepts the call. (This may or may not be after he initially refused it). This acceptance may occur because the hero realizes there is no one else available or better qualified, or he may be forced into it. This acceptance may occur after some time has passed and the hero has had time to reflect on circumstances, or there may be further events that clarify the need for his intervention. He may also be prompted further by his mentor figure. This is really the first step into becoming a hero. Prior to this, circumstances caught up to the hero, but he didn’t really make any choices. Now he does, and it’s that choice that starts him on the road to herohood. • This provides further bonding between hero and audience, because he is pursuing the role that the audiences wants him to take, and yet feels anxious about him doing so. They can put themselves into his shoes and feel the same anxiety regarding leaving home, abandoning responsibilities, stepping into danger and the unknown, etc. • This is the point of no return. The hero has started on the journey, and regardless of what happens from this point, his life will never be what it once was. This step involves physical action and generally movement. The hero leaves home and begins to journey to wherever he must go next. This can be a highly symbolic act, as in crossing from one realm to another (think of the tradition of a bride being carried into her new home). It’s symbolic of change and commitment – leaving behind the old and accepting the new. • Often, the threshold to adventure is guarded by some kind of monster, guardian, or difficulty that must be overcome in order for the hero to prove himself or else to really emphasize the dangers that the hero has undertaken. • Examples: • Shrek: Shrek’s decision to confront Lord Farquaad in order to get his swamp back • Harry Potter: Harry’s decision to believe Hagrid and leave with him Stage Five: The Belly of the Whale • "The idea that the passage of the magical threshold is a transit into a sphere of rebirth is symbolized in the worldwide womb image of the belly of the whale. The hero, instead of conquering or conciliating the power of the threshold, is swallowed into the unknown and would appear to have died. This popular motif gives emphasis to the lesson that the passage of the threshold is a form of self-annihilation. Instead of passing outward, beyond the confines of the visible world, the hero goes inward, to be born again. The disappearance corresponds to the passing of a worshipper into a temple—where he is to be quickened by the recollection of who and what he is, namely dust and ashes unless immortal. The temple interior, the belly of the whale, and the heavenly land beyond, above, and below the confines of the world, are one and the same. That is why the approaches and entrances to temples are flanked and defended by colossal gargoyles: dragons, lions, devil-slayers with drawn swords, resentful dwarfs, winged bulls. The devotee at the moment of entry into a temple undergoes a metamorphosis. Once inside he may be said to have died to time and returned to the World Womb, the World Navel, the Earthly Paradise. Allegorically, then, the passage into a temple and the hero-dive through the jaws of the whale are identical adventures, both denoting in picture language, the life-centering, life-renewing act." • • This stage represents the final separation of the hero from everything that was familiar to him. He has been irrevocably changed by his acceptance of the journey, and even if he was to quit now, he will never be the same. He has already been changed by his venture into the outside world. It has broadened his worldview and he is not the same person. In some ways, as Campbell indicates, this is a form of rebirth. He is no longer the ordinary citizen that he was prior to beginning the journey. He has seen new things and has been affected by them. He is aware of the world outside of his own in a way that he wasn’t before. • Examples: • Harry Potter: Harry’s trip on the Hogwort’s Express and subsequent arrival at Hogwarts • Shrek: Shrek’s confrontation and subsequent deal with Lord Farquaad Stage Six: The Road of Trials • "Once having traversed the threshold, the hero moves in a dream landscape of curiously fluid, ambiguous forms, where he must survive a succession of trials. This is a favorite phase of the myth-adventure. It has produced a world literature of miraculous tests and ordeals. The hero is covertly aided by the advice, amulets, and secret agents of the supernatural helper whom he met before his entrance into this region. Or it may be that he here discovers for the first time that there is a benign power everywhere supporting him in his superhuman passage. The original departure into the land of trials represented only the beginning of the long and really perilous path of initiatory conquests and moments of illumination. Dragons have now to be slain and surprising barriers passed — again, again, and again. Meanwhile there will be a multitude of preliminary victories, unretainable ecstasies and momentary glimpses of the wonderful land." • Upon crossing the threshold and beginning his journey, the hero will undergo a series of tests and ordeals designed for him to prove himself worthy. These may test him physically, mentally, or spiritually. These trials also make the hero stronger, in a sense training him for his final battle. Often, these tests appear in groupings of threes, as for many cultures, three was a symbolic number. Sometimes, the hero might fail some of the tests, which can be part of his transformation and growth, as he must learn to deal with adversity and gain perseverance. • Examples: • Shrek: Everything that happens on the way to rescue the princess in the tower • Harry Potter: Everything that happens throughout the year at Hogwarts Stage Seven: The Meeting with the Goddess • Step Seven: The Meeting with the Goddess • "The ultimate adventure, when all the barriers and ogres have been overcome, is commonly represented as a mystical marriage of the triumphant hero-soul with the Queen Goddess of the World. This is the crisis at the nadir, the zenith, or at the uttermost edge of the earth, at the central point of the cosmos, in the tabernacle of the temple, or within the darkness of the deepest chamber of the heart. The meeting with the goddess (who is incarnate in every woman) is the final test of the talent of the hero to win the boon of love (charity: amor fati), which is life itself enjoyed as the encasement of eternity. And when the adventurer, in this context, is not a youth but a maid, she is the one who, by her qualities, her beauty, or her yearning, is fit to become the consort of an immortal. Then the heavenly husband descends to her and conducts her to his bed—whether she will or not. And if she has shunned him, the scales fall from her eyes; if she has sought him, her desire finds its peace." • This is the point in the hero’s journey when he finds a love for someone or something that becomes all-powerful, all encompassing, and unconditional. It has been likened to the love an infant feels for its mother. This love makes the hero a better person, because it’s a selfless love. The hero will be willing to do great things for the sake of this love. Keep in mind, this is not always a romantic or sexual love, and it’s not always for a person. This sometimes takes place entirely within the hero when s/he no longer feels as if they are missing a part of themselves and becomes comfortable with who they are. Although Campbell symbolizes this step as a meeting with a goddess, unconditional love and/or self unification does not have to be represented by a woman. • Again, the audience may feel a bond with the hero because they may have someone or something that they would do anything for, or they may wish they had that kind of love. In any case, they can appreciate why this provides motivation for the hero to risk himself, and they cheer him on. • Examples: • Shrek: meeting Fiona • Harry Potter: understanding of his parents’ sacrifice for him Stage Eight: Woman as Temptress • "The crux of the curious difficulty lies in the fact that our conscious views of what life ought to be seldom correspond to what life really is. Generally we refuse to admit within ourselves, or within our friends, the fullness of that pushing, self-protective, malodorous, carnivorous, lecherous fever which is the very nature of the organic cell. Rather, we tend to perfume, whitewash, and reinterpret; meanwhile imagining that all the flies in the ointment, all the hairs in the soup, are the faults of some unpleasant someone else. But when it suddenly dawns on us, or is forced to our attention that everything we think or do is necessarily tainted with the odor of the flesh, then, not uncommonly, there is experienced a moment of revulsion: life, the acts of life, the organs of life, woman in particular as the great symbol of life, become intolerable to the pure, the pure, pure soul. The seeker of the life beyond life must press beyond (the woman), surpass the temptations of her call, and soar to the immaculate ether beyond." • This is the stage where the hero is confronted by temptation, sometimes of a physical nature, but not always. This temptation may lead the hero to abandon or postpone his journey or quest. Although Campbell frames it as a woman, this is metaphorical. In Western culture, woman has long been a metaphor for the physical or material temptations of life, thanks to Biblical stories of Eve. The woman can tempt the hero into lust, which leads him away from his spiritual journey. Refusing this temptation is yet another test of the hero’s worthiness. • The audience understands temptation, but at the same time, because they are outside the story, they understand that it IS temptation and should be rejected. It’s easier for them to reject this than the hero who is living inside the story. • Examples: • Shrek: Shrek’s battle over whether or not to put himself out there with Fiona • Harry Potter: Harry is tempted several times to just give up and let older, more experienced wizards handle everything Stage Nine: Atonement with the Father • "Atonement consists in no more than the abandonment of that self-generated double monster—the dragon thought to be God (superego) and the dragon thought to be Sin (repressed id). But this requires an abandonment of the attachment to ego itself, and that is what is difficult. One must have a faith that the father is merciful, and then a reliance on that mercy. Therewith, the center of belief is transferred outside of the bedeviling god's tight scaly ring, and the dreadful ogres dissolve. It is in this ordeal that the hero may derive hope and assurance from the helpful female figure, by whose magic (pollen charms or power of intercession) he is protected through all the frightening experiences of the father's ego-shattering initiation. For if it is impossible to trust the terrifying father-face, then one's faith must be centered elsewhere (Spider Woman, Blessed Mother); and with that reliance for support, one endures the crisis—only to find, in the end, that the father and mother reflect each other, and are in essence the same. The problem of the hero going to meet the father is to open his soul beyond terror to such a degree that he will be ripe to understand how the sickening and insane tragedies of this vast and ruthless cosmos are completely validated in the majesty of Being. The hero transcends life with its peculiar blind spot and for a moment rises to a glimpse of the source. He beholds the face of the father, understands—and the two are atoned." • At this stage, the hero is confronted by whatever holds the ultimate power in his life. Because Western myths often represent this as a father figure who has power over life and death, the father has become a metaphor for this stage. (That’s right, woman is a metaphor for temptation, man for ultimate power. Can you tell this was designed by a man and see why Maureen Murdock created a different version for heroines?) • This is the central point of the journey. Everything that has come before it has led up to this point, and everything that follows will be because of what happens at this point. Although depicted as a father figure by Campbell, the event in the story may not always be an encounter with a male figure or even a person at all; it may just be someone or something with incredible power. • The audience understands that this is the last step in the process of the ordinary person from the beginning of the adventure becoming the hero he/she needs to be in order to defeat the final adversary. • Examples: • Harry Potter: Harry has a further set of obstacles that he must overcome in order to reach the final confrontation with Voldemort. One of these obstacles is understanding he can’t do it alone. • Shrek: Shrek’s fight with Donkey Stage Ten: Apotheosis • "Those who know, not only that the Everlasting lies in them, but that what they, and all things, really are is the Everlasting, dwell in the groves of the wish fulfilling trees, drink the brew of immortality, and listen everywhere to the unheard music of eternal concord." • You might think of this step as a sort of intermission between acts. The hero has been working pretty hard, encountering tests and obstacles, overcoming them or failing, and learning a lot. S/he deserves a bit of a break and a chance to wrap their head around everything, in order to understand what s/he has achieved so far and what s/he still needs to achieve. • Things have been moving pretty quickly and intensely, and this gives the audience a break to grasp everything that has happened and everything that still needs to happen. It also ups the tension level. It’s the calm before the storm. • Examples: • Harry Potter: the moment when Harry must go alone. Ron and Hermione have helped him up until this point, but now he must confront Voldemort alone • Shrek: the scene at the cottage when Donkey finds out Fiona is an ogre and she subsequently rejects Shrek Stage Eleven: The Ultimate Boon • "The gods and goddesses then are to be understood as embodiments and custodians of the elixir of Imperishable Being but not themselves the Ultimate in its primary state. What the hero seeks through his intercourse with them is therefore not finally themselves, but their grace, i.e., the power of their sustaining substance. This miraculous energy-substance and this alone is the Imperishable; the names and forms of the deities who everywhere embody, dispense, and represent it come and go. This is the miraculous energy of the thunderbolts of Zeus, Yahweh, and the Supreme Buddha, the fertility of the rain of Viracocha, the virtue announced by the bell rung in the Mass at the consecration, and the light of the ultimate illumination of the saint and sage. Its guardians dare release it only to the duly proven." • This is the achievement of the ultimate goal of the quest. It’s the climax of the story, where the hero fights through to the treasure and wins. It’s the reason for everything that has come before. Some see this is a form of purification that makes the hero worthy to receive the ultimate boon. • Examples: • Harry Potter: Harry’s confrontation with Voldemort and his retrieval of the Sorcerer’s Stone because he is worthy. His willingness to sacrifice himself to stop Voldemort. • Shrek: Shrek returns Fiona to Lord Farquaad and gets the deed to his swamp Stage Twelve: Refusal of the Return • "When the hero-quest has been accomplished, through penetration to the source, or through the grace of some male or female, human or animal, personification, the adventurer still must return with his life-transmuting trophy. The full round, the norm of the monomyth, requires that the hero shall now begin the labor of bringing the runes of wisdom, the Golden Fleece, or his sleeping princess, back into the kingdom of humanity, where the boon may redound to the renewing of the community, the nation, the planet or the ten thousand worlds. But the responsibility has been frequently refused. Even Gautama Buddha, after his triumph, doubted whether the message of realization could be communicated, and saints are reported to have died while in the supernal ecstasy. Numerous indeed are the heroes fabled to have taken up residence forever in the blessed isle of the unaging Goddess of Immortal Being." • Our hero has been working pretty hard and he’s finally won, and has achieved glory and riches (even if only metaphorically). Going back to the ordinary world seems kind of boring at this point. Why not just stay here in this new, fantastical world that he’s won the right to? Some heroes feel that the ordinary world doesn’t deserve the ultimate boon that he’s fought so hard to win, since they wouldn’t make the effort themselves, and therefore refuse to share the boon with the rest of the world, choosing instead to stay in the fantastic or mythical realm. • Examples: • • Harry Potter: Harry’s desire to remain in the hospital wing rather than face everything that has happened and all of the other students Shrek: Shrek returns to his swamp, refusing to listen to Donkey Stage Thirteen: The Magic Flight • "If the hero in his triumph wins the blessing of the goddess or the god and is then explicitly commissioned to return to the world with some elixir for the restoration of society, the final stage of his adventure is supported by all the powers of his supernatural patron. On the other hand, if the trophy has been attained against the opposition of its guardian, or if the hero's wish to return to the world has been resented by the gods or demons, then the last stage of the mythological round becomes a lively, often comical, pursuit. This flight may be complicated by marvels of magical obstruction and evasion." • Sometimes the gods and goddesses (or power of some kind) resent the hero winning through to his goal and want it back. When this happens, the hero’s return becomes a sort of chase, pursued by angry, vengeful hunters. The hero must evade them and the obstacles that they create. It’s another journey of trials and tests that the hero must overcome. • Examples: • Harry Potter: This step rarely appears in the Harry Potter books as he usually destroys magical items instead of retrieving them, such as giving the Sorcerer’s Stone to Dumbledore, who then destroys it because it’s too dangerous. • Shrek: Shrek realizes he loves Fiona and wants to return to her Stage Fourteen: Rescue from Without • "The hero may have to be brought back from his supernatural adventure by assistance from without. That is to say, the world may have to come and get him. For the bliss of the deep abode is not lightly abandoned in favor of the self-scattering of the wakened state. 'Who having cast off the world,' we read, 'would desire to return again? He would be only there.' And yet, in so far as one is alive, life will call. Society is jealous of those who remain away from it, and will come knocking at the door. If the hero. . . is unwilling, the disturber suffers an ugly shock; but on the other hand, if the summoned one is only delayed—sealed in by the beatitude of the state of perfect being (which resembles death)—an apparent rescue is effected, and the adventurer returns." • Just as the hero needed assistance and aide when he set out on his journey, he may need help returning from it. Sometimes this is provided by powerful guides and beings who show the hero the way back to the ordinary world. Sometimes this is necessary because the hero is wounded, weakened, or changed in some way by his experiences. • Examples: • Harry Potter: Harry may have defeated Voldemort, but his other enemy, Draco Malfoy and the Slytherins, are going to triumph by winning the House Cup since Harry was in the hospital and couldn’t participate in the last Quidditch match. Dumbledore prevents this by awarding Harry, Ron, Hermione, and Neville Longbottom points for their roles in stopping Voldemort, thus allowing Gryffindor to beat Slytherin • Shrek: Donkey enlists Dragon to help Shrek get Fiona back Stage Fifteen: Crossing of the Return Threshold • "The returning hero, to complete his adventure, must survive the impact of the world. Many failures attest to the difficulties of this life-affirmative threshold. The first problem of the returning hero is to accept as real, after an experience of the soul-satisfying vision of fulfillment, the passing joys and sorrows, banalities and noisy obscenities of life. Why re-enter such a world? Why attempt to make plausible, or even interesting, to men and women consumed with passion, the experience of transcendental bliss? As dreams that were momentous by night may seem simply silly in the light of day, so the poet and the prophet can discover themselves playing the idiot before a jury of sober eyes. The easy thing is to commit the whole community to the devil and retire again into the heavenly rock dwelling, close the door, and make it fast. But if some spiritual obstetrician has drawn the shimenawa across the retreat, then the work of representing eternity in time, and perceiving in time eternity, cannot be avoided" The hero returns to the world of common day and must accept it as real.” • Our hero has returned to the ordinary world, triumphant, but that doesn’t mean his work is done. But the problem is more of a personal one rather than a world threatening one. The journey has changed our hero and where he may not have fit into his world before, he really doesn’t fit in now and is very aware of it. He may have a hard time re-acclimating to the mundane after experiencing the fantastic. He somehow needs to be able to fit the wisdom or power that he gained on the journey into an ordinary life, and then be able to share that wisdom or power with the rest of the world. In some ways, he’s even more of an outsider than he was, and must accept that he always will be. • Examples: • Harry Potter: Harry’s return to the ordinary world (the Muggle world as represented by Privet Drive and the Dursleys) is always conducted via the Hogwort’s Express. This is both symbolic and concrete. It’s the same means by which he left the ordinary world, but when he returns, he has gained new skills and powers. In Harry’s case, he has gained a sense of confidence in himself. • Shrek: Shrek enters the church to declare his love Stage Sixteen: Master of Two Worlds • "Freedom to pass back and forth across the world division, from the perspective of the apparitions of time to that of the causal deep and back—not contaminating the principles of the one with those of the other, yet permitting the mind to know the one by virtue of the other—is the talent of the master. The Cosmic Dancer, declares Nietzsche, does not rest heavily in a single spot, but gaily, lightly, turns and leaps from one position to another. It is possible to speak from only one point at a time, but that does not invalidate the insights of the rest. The individual, through prolonged psychological disciplines, gives up completely all attachment to his personal limitations, idiosyncrasies, hopes and fears, no longer resists the self-annihilation that is prerequisite to rebirth in the realization of truth, and so becomes ripe, at last, for the great atone-ment. His personal ambitions being totally dissolved, he no longer tries to live but willingly relaxes to whatever may come to pass in him; he becomes, that is to say, an anonymity." • Our hero is now a Hero, and no longer an ordinary person, and he has become comfortable with that. He’s figured out how to fit into his own skin, and has learned to balance his material world with his spiritual one to his own satisfaction. • Examples: • • Harry Potter: Harry still hates Privet Drive, but he is a lot more comfortable now that he has friends of his own. Shrek: Shrek wins Fiona’s love Stage Seventeen: Freedom to Live • "The hero is the champion of things becoming, not of things become, because he is. "Before Abraham was, I AM." He does not mistake apparent changelessness in time for the permanence of Being, nor is he fearful of the next moment (or of the 'other thing'), as destroying the permanent with its change. 'Nothing retains its own form; but Nature, the greater renewer, ever makes up forms from forms. Be sure there's nothing perishes in the whole universe; it does but vary and renew its form.' Thus the next moment is permitted to come to pass • Some authors refer to this as the “living-in-the-moment” stage. He knows life is uncertain, but he’s okay with that. He doesn’t regret his past or worry too much about the future, because he’s learned to deal with the world and he’s learned who he is. Our hero has become totally zen. • Examples: • Harry Potter: Harry’s final statement about being okay with going back to Privet Drive because the Dursleys don’t know he’s not allowed to use magic outside of school. He’s come to terms with who he is and is no longer willing to be bullied by the Dursleys. He also knows that Voldemort isn’t gone for good, but he’s okay with that for now. • Shrek: Shrek returns to the swamp, but this time with Fiona, Donkey, and other friends The Application of the Hero’s Journey Stage One: The Call to Adventure - The hero starts off in a mundane situation of normality from which some information is received that acts as a call to head off into the unknown Stage Two: Refusal of the Call - Often when the call is given, the future hero refuses to heed it. This may be from a sense of duty or obligation, fear, insecurity, a sense of inadequacy, etc. Stage Three: Supernatural Aid - Once the hero has committed to the quest, consciously or unconsciously, his or her guide and magical helper appears, or becomes known. Stage Four: Crossing of the First Threshold - This is the point where the person actually crosses into the field of adventure, leaving the known limits of his or her world and venturing into an unknown and dangerous realm, where the rules and limits are not known. Stage Five: Belly of the Whale - The belly of the whale represents the final separation from the hero’s known world and self. By entering this stage, the person shows their willingness to undergo a metamorphosis Stage Six: The Road of Trials - The road of trials is a series of tests, tasks, or ordeals that the person must undergo to begin the transformation. Often the person fails one or more of these tests, which often occur in threes. Stage Seven: The Meeting with the Goddess - This is the point when the person experiences a love that has the power and significance of the all-powerful, all encompassing, unconditional love that a fortunate infant may experience with his or her mother. Stage Eight: Woman as Temptress - This step is about those material temptations that may lead the hero to abandon or stray from his or her quest. Stage Nine: Atonement with the Father - In this step the person must confront and be initiated by whatever holds the ultimate power in his or her life. In many myths and stories this is the father, or a fathering figure who has life and death power. This is the center point of the journey. Stage Ten: Apotheosis - When someone dies a physical death, or dies to the self to live in spirit, he or she moves beyond the pairs of opposites to a state of divine knowledge, love, compassion and bliss. Stage Eleven: The Ultimate Boon - The ultimate boon is the achievement of the goal of the quest. It is what the person went on the journey to get. All the previous steps serve to prepare and purify the person for this step. Stage Twelve: Refusal of the Return - Having found bliss and enlightenment in the other world, the hero may not want to return to the ordinary world to bestow the boon onto his fellow man. Stage Thirteen: The Magic Flight - Sometimes the hero must escape with the boon. This can be just as adventurous and dangerous returning from the journey as it was to go on it. Stage Fourteen: Rescue from Without - Oftentimes the hero needs a powerful guides to bring them back to everyday life, especially if the person has been wounded or weakened by the experience. Stage Fifteen: The Crossing of the Return Threshold - Retaining the wisdom gained on the quest, integrating that wisdom into a human life, and possibly sharing the wisdom with the rest of the world. Stage Sixteen: Master of Two Worlds - Achieving a balance between the material and spiritual (the inner and outer world.) Stage Seventeen: Freedom to Live - Mastery leads to freedom from the fear of death, which in turn is the freedom to live. This is sometimes referred to as living in the moment, neither anticipating the future nor regretting the past. Character Analysis – I have identified most of the important characters in each story and listed them for you. You need to do a character analysis for each of these characters. There are only three questions for each character, but below each of them I’ve given you some examples of ways to answer them, such as types of characters, or ways of describing them and the significance of their appearances or behavior. 1. Identify what type of character this is. A character could be two or three different types. Characters can be • • • • • • • • • • protagonists, The main character around whom most of the work revolves. This does not always mean the good guy. antagonists, The person who the protagonist is against. This is often the villain, but not always, and could even be a force of nature, set of circumstances, an animal, etc. major, These are the main characters. They dominate the story. Often there are only one or two major characters. minor, These are the characters who help tell the major character’s tale by letting major characters interact and reveal their personalities, situations, stories. They are usually static (unchanging). dynamic (changing), See below under “Look at specific things.” static (unchanging), stereotypical (stock), This is the absent minded professor, the jolly fat person, the clueless blonde. foils, These are the people whose job is to contrast with the major character. This can happen in two ways: One: The foil can be the opposite of the major character, so the major’s virtues and strengths are that much “brighter” in reflection; Two: The foil can be someone like the major character, with light versions of the major’s virtues and strengths so that the major comes off as even stronger. round (3 dimensional), This means the character has more than one facet to their personality. They are not just a hardcore gamer, but they also play basketball on the weekends. flat (1 dimensional), This is the character who is only viewed through one side. This is the hardcore gamer. That’s all there is to the character. 2. Describe the character – this means both physical (if it’s significant) and their characteristics • • • Is their name significant? Look for both literal and symbolic meanings, and consider if they reflect the character What is the character like? Are they funny, intelligent, devious, etc. What does the character do that defines their character? Do they save people, manipulate them, threaten them, etc. • What does the character look like? This may not actually be important. It depends on the character. So consider whether or not their appearance is symbolic or representative of their character. 3.Discuss the conflict in the story and the character’s place in it Often the characters are described in relation to the conflict within the story. - External • • • • • • - man vs. man: This is the protagonist versus the antagonist. Snow White versus the Wicked Queen. man vs. machine: This is when the machine is the enemy. Many robot-centric novels have this issue. (This is sometimes considered a subset of man vs. man.) man vs. nature: Robinson Crusoe on the island. Hansel and Gretel lost in the forest. man vs. animal: Captain Ahab versus the white whale in Moby Dick. The wolf in “The Three Little Pigs.” –Usually the animal is a predator and the man has become prey for some reason. It could be humorous, though, the man is trying to catch the dog, who runs away and has the main character chasing him all over creation. (This is sometimes considered a subset of man vs. nature.) man vs. fate or destiny: Sleeping Beauty can’t help pricking her finger. A man who has been late several times (due to circumstances beyond his control) gets in a traffic jam and is an hour late to work and gets fired. The fact that it has happened several times and is not his fault is the crucial point. man vs. society: This is when a character battles societal norms. Winston Smith in 1984. Huck in The Adventures of Huckleberrry Finn. Internal • man vs. himself: This is when the character has an ethical dilemma, stealing to feed his family or watch them starve. Lie to the government and save the people in the basement or tell the truth and have them taken away. This is the cartoon equivalent of the devil and the angel on either shoulder. • man vs. his mind: This is the character with internal problems that are not ethical, but mental. An example, as was pointed out in the comments, is the character with schizophrenia or one who is bipolar. How does the character deal with his/her limitations? What do they have to overcome? How do they overcome it? Is it harder or easier to overcome something that is a part of the character than it is to overcome something that is outside of the character? A good character analysis might look something like this: 1. Luke Skywalker – protagonist, all of the action centers around him. Dynamic, round – his personality changes from the beginning of the movie (naïve, impulsive farm boy who doesn’t want to get involved, to heroic pilot who saves the day and keeps calm in battle) 2. Young, late teens. Naïve and inexperienced. He has little experience with the galaxy, having never been far from his home, let alone off his planet. He’s impulsive and immature at first, but eventually gains a little maturity and control. Although self-centered at first, he ends up doing what is best for the galaxy, not himself. ▪ Physically, he’s a typical hero type – cute, blonde, and blueeyed. ▪ His name is significant – Luke – from Lucius – the Lightbringer, as he embodies the Light Side of the Force. His name is also derivative of George Lucas and he may represent Lucas and his fight against the evil Empire of the large movie studios. Skywalker – he walks the sky, this may embody his destiny in the larger galaxy. 3. Conflict – ▪ External ▪ man vs man – Luke vs Vader and Tarkin ▪ man vs machine – Luke vs the Death Star and the TIEs ▪ man vs society – Luke vs the Empire ▪ Internal ▪ Man vs himself – Luke vs his impulsiveness, his temper, etc Close Reading of a Text Answer each bullet point in each section thoroughly. You may do this in an outline format. 1. Historical Context There are a lot of ways to look at a piece of literature. One of these is to understand how it fits into the historical context. Look at when the work was first published (don’t get this confused with the printing date of whatever text you have). For example, Mark Twain’s Adventures of Huckleberry Finn was published in 1884 at a time when the question of race was of supreme importance after the events of the Civil War. Racism plays a large part in the novel, centering on Huck’s view of Jim in contrast to the way society views him. Apply this same perspective to the text you’re reading. You should consider what is happening both at the time of publication and at the time period in which the text is set; consider why the author chose to tell this story now and why they picked this time period to write about. Focus on events and movements that are culturally significant, not just random events that might have occurred. For example, Ozzy Osborne biting off the head of a live bat during one of his concerts is probably not going to have much significance to one of our books, but the Second Wave of Feminism drawing to an end in the 1980s very well may. DO NOT just look up “things that happened in” whatever year and pick random events. • • • • • What else culturally significant to the text was happening at the time the text was written What else culturally significant to the text was happening at the time the story is set (if it’s different from the time period it was written in)? What political or social events were occurring? Does the author make mention of these either directly or indirectly? How do any historical events affect the text? 2. Narrative Point of View All literary texts share one character in common: the narrator. The narrator is the person who is telling the story. However, there are different types of narrators, depending on the story. Narrators can be either first person or third person. A first person narrator uses “I” and tells the story from their own point of view, allowing their personal experiences and perspectives to color the way they tell the story. In first person narratives, the narrator is often the protagonist, or main character. However, sometimes in a first person narrative, the narrator is a secondary character who observes and reports on the actions of the protagonist. Narrators can also be third person. This is when the author uses the pronouns “he,” “she,” and “they.” Although not as obvious as in first person cases, third person narrators can also affect the story. Third person narrators can be either omniscient or limited. An omniscient narrator knows everything that has happened and understands all of the implications. A limited narrator only knows as much as a character or characters do. Each of these have different impacts on the story. Narrators might also be something other than a character, so keep this in mind. • • • • What type of narrator does the text have? o First person or third? Protagonist or secondary? Omniscient or limited? How do you know? What impact does this have on the story? How would the story be different with a different type of narrator? 3. Symbols Symbols are persons, places, or things in a narrative that have significance beyond a literal understanding. The craft of storytelling depends on symbols to present ideas and point toward new meanings. Most frequently, a specific object will be used to refer to (or symbolize) a more abstract concept. The repeated appearance of an object suggests a non-literal, or figurative, meaning attached to the object. Symbols are often found in the book’s title, at the beginning and end of the story, within a profound action, or in the name or personality of a character. The life of a novel is perpetuated by generations of readers interpreting and reinterpreting the main symbols. By identifying and understanding symbols, readers can reveal new interpretations of the novel. An example of a symbol would be something like Harry’s scar in the Harry Potter series. While it’s literally the mark left behind from when Voldemort tried to kill him, I’m looking for the symbolic meaning, which could be that it represents his defeat of Voldemort and his role as the Chosen One. • • • • What are some symbols that you identified in the text? You need to name at least three. What do these symbols stand for? What impact do they have on the story? Why do you think the author chose these particular symbol(s)? 4. Plot Devices The author crafts a plot structure to create expectations, increase suspense, and develop characters. The pacing of events can make a novel either predictable or riveting. Foreshadowing and flashbacks allow the author to defy the constraints of time. Sometimes an author can confound a simple plot by telling stories within stories. In a conventional work of fiction, the peak of the story’s conflict—the climax—is followed by the resolution, or denouement, in which the effects of that climactic action are presented. • • • • What plot devices does the author use to make the plot more complex? How do these impact the text? What do you consider the climax of the story? Why? What is the resolution? 5. Themes Themes are the central, recurring subjects of a novel. As characters grapple with circumstances such as racism, class, or unrequited love, profound questions will arise in the reader’s mind about human life, social pressures, and societal expectations. Classic themes include intellectual freedom versus censorship, the relationship between one’s personal moral code and larger political justice, and spiritual faith versus rational considerations. A novel often reconsiders these age-old debates by presenting them in new contexts or from new points of view. • • • What are some themes that you noticed in the novel? You need at least three. What are some examples from the text where you see these themes? Why does the author include these themes? Running head: STAR WARS: EPISODE IV – A NEW HOPE Star Wars: Episode IV – A New Hope Name: Institutional affiliation 1 STAR WARS: EPISODE IV – A NEW HOPE 2 The Application of the Hero’s Journey Stage One: The Call to Adventure In the Stars Wars, the journey of Luke begins when he hears a message from Princess Leia stored on the R2-D2. The news was a cry for help intended for Obi-Wan Kenobi who is the mentor of the hero. Stage Two: Refusal of the Call At first, Luke refuses the call to help save Princess Leia. The primary worry is shirking his responsibility to his uncle and work on Tatooine. He must improve in the harvest of the crops. He also doubts his ability saying that it’s a long way from where they were. Stage Three: Supernatural Aid Obi-Wan Kenobi rescues Luke who receives the lightsaber which belonged to his father as a supernatural aid. Furthermore, Kenobi teaches Luke about the ways of the Force that acts as the starting point of the journey of Luke. Stage Four: Crossing of the First Threshold Escaping Tatooine marked the first threshold that Luke crossed. Luke’s crossing of the limit of cantina shows his willingness to leave behind his if and embark on the unknown. Stage Five: Belly of the Whale The trash compactor is a representation of the final separation from Luke’s healthy life. Luke and other members get pulled into the Death Star using the beam of the tractor, his hostile meeting with the Dionaga in the trash compactor, and his descending on the mystical Tree Cave. Stage Six: The Road of Trials The road to trials begins with lightsaber practice. Luke undergoes other many tests including facing off against the Rancor under the throne of Jabba. Furthermore, Luke also had an STAR WARS: EPISODE IV – A NEW HOPE 3 encounter with Vader and Emperor that were too challenging. Even though he passes the majority of the trials, he fails to defeat Vader after the Empire launches a strike back. Stage Seven: The Meeting with the Goddess The meeting between Luke and Leia and he loves his sister unconditionally after the discovery that they are siblings. Stage Eight: Woman as Temptress The temptation of Luke comes from the power of Dark Side as opposed to an honest-to-God woman. The attack of Luke of Vader before denouncing the Dark Side best explains this stage. Stage Nine: Atonement with the Father The reconciliation of Luke and Darth best explains this level of Campbell’s Hero’s Journey. In the end, there is the ability of Luke to recall his father from the Dark Side despite the losses and increased anger. Stage Ten: Apotheosis The Apotheosis is evident when Luke becomes a Jedi. He refutes the Dark Side, abandons his lightsaber, and denies perpetuation of the continuous violence despite the consequences. Stage Eleven: The Ultimate Boon Destroying the tyrannical Galactic Empire in an effort of regaining peace by the galaxy is the ultimate boon of the “Star Wars.” It is a representation of the destruction of the Death Star as the primary activity at this stage. Stage Twelve: Refusal of the Return Luke is reluctant to return to the ordinary world because he needs more time to avenge on ObiWan. STAR WARS: EPISODE IV – A NEW HOPE 4 Stage Thirteen: The Magic Flight This step is represented in the film when Luke has to put in place strategies to escape the second Death Star before its destruction. Also, the Millennium Falcon serves as the magic stage flight of the Hero’s journey. Stage Fourteen: Rescue from Without The saving of Luke from Darth by Han was the rescue from without level. At the time when look realizes about his proximity to the Dark side, he makes a turnaround decision to depart from the path. Stage Fifteen: The Crossing of the Return Threshold Even though this step is not directly presented or evident in the film, there is evidence that it is the responsibility of Luke to rebuild the order thus using the acquired knowledge and wisdom with the galaxy. Stage Sixteen: Master of Two Worlds It is evident by Luke abandoning his old simple life and adopts the wisdom and serenity taken during his journey to become a Galactic Hero. Stage Seventeen: Freedom to Live The casting of his lightsaber and refuses to give in to the Dark Side shows his unconcern about death. Character Analysis for Star Wars Luke Skywalker 1. Luke Skywalker. The Chief Protagonist of the film undergoes significant changes through the texts from being naïve to becoming more confident and goal-oriented. He starts as a farm boy STAR WARS: EPISODE IV – A NEW HOPE 5 unwilling to get into a battle with a responsible person who becomes the hero in the long-run due to his composure and calm. 2. Luke is a callow youth with little experience about his community with dreams on how to escape from the cosmic events. At the beginning of the film, the author depicts Luke as an immature and selfless young man who goes beyond the nature to achieve positive results for the galaxy. Physically, Luke is an active youth whose desires are the driving force behind his success. The character and name of Luke are significant since it represents a source of light to the Dark Force. It explains the magical powers of the Jedi. Skywalker shows the enormous responsibility of Luke to the galaxy. 3. Conflict External: Luke vs. Empire Luke vs. Jedi Luke vs. Death Star Internal: Luke vs. Personal feelings Han Solo 1. Han Solo is a minor character characterized by cynicism and self-preservation. He changes his personality; at first, he joins Luke and Obi-Wan but later becomes the leader of the Rebel Alliance. 2. Solo is a brash, roguish smuggler who is determined to becoming a hero despite his cynicism and selfless character. He is an independent character and decisive in his actions. Han Solo represents the change of symbols between final Jedi and new hope. 3. Conflict External: Solo vs. Luke and Obi STAR WARS: EPISODE IV – A NEW HOPE 6 Solo vs. Starship Internal: Solo vs. Feeling for Princess Leia Leia Organa 1. Leia is one of the significant characters of the film as is the one that sets the journey of Luke. The director displays her as a static character consumed with the personal quest of overthrowing the Empire and overlooks the interest and feelings of others until late in the text. 2. Physically level headed and sharp-tongued, Leia is courageous and determined to achieve her goals despite the obstacles. The author displays her character in two extremes; classic damsel-in-distress and independent and brave ready to take charge when the need arises. She is a leader. 3. Conflict External: Leia vs. Solo Leia vs. Death Star Leia vs. Empire Internal: Leia vs. romance feelings Obi-Wan Kenobi 1. Kenobi is a character with more than one facet of his personality. He possesses Jedi’s skills and supernatural powers. The author presents Obi as foils who train Luke in the ways of the Force and continual advice despite the lightsaber duel by Darth Vader. 2. Physically Obi is old but wise and reassuring figure with magical powers. The character is the master of the Jedi Knight’s order. He is the mentor of Luke that teaches him on the quest to complete his destiny. It is Obi’s teaching that sets Luke to becoming a Jedi Knight. 3. Conflict STAR WARS: EPISODE IV – A NEW HOPE External: 7 Obi-Wan vs. Vader Darth Vader 1. Vader is the antagonist of the film. He continually pursues Luke and his friends so that he can crush the Rebellion to which the group is a part. At first, the author views Vader as static and focused on his goals but changes towards the end of the film. 2. The author presents Vader as a determined character whose motive is to bring his son Luke into the orbit of Emperor and teach him to embrace the dark side of Force. 3. Conflict External: Vader vs. Emperor’s orbit Vader vs. Luke Artoo Detoo and See Threepio 1. Both the characters are static in the film as their role is that of prime movers. 2. Detoo is courageous as he finds a way to deliver the message from Leia to Obi-Wan Kenobi. Also, they both tap into a double act that exhibits different characters at the same time. Therefore, their actions bring together all the necessary elements of the film and aid the hero into victory. 3. Conflict External: Detoo vs. Threepio Grand Moff Tarkin 1. The film director also presents Tarkin as the antagonist since just as his counterpart Darth Vader, aims at retrieving the plans of the Death of Star and hunting of the revolutionary groups. 2. Tarkin is a fearful and robust man with official language. He commands Vader to release Imperial Officer from the Force, and he responds without questioning. Also, Grand Moff Tarkin STAR WARS: EPISODE IV – A NEW HOPE has pride that prevents him from taking precaution and escaping when attacked by the assault of Death Star. 3. Conflict External: Tarkin vs. Death Star Tarkin vs. Luke 3: Critical Thinking for Star Wars Symbols The “Star Wars: Episode IV – A New Hope,” uses different symbols to illustrate the central themes in the text. The lightsaber represents the traditional weapon of Jedi. It impacts on the film by forming the basis for Luke’s journey and the future encounters. The lightsaber is the precise and civilized weapon. The author uses this symbol to show the initiation of Luke to his father’s footsteps by passing the father’s lightsaber to Luke. Secondly, the Death Star that represents evil in the text. The impact is an illustration of worship technology over nature. The main reason for the use of this symbol is to illustrate the innate fragility of the most potent technology. Thirdly, the force represents a broad religion as opposed to a specific type. Its implication is to show the structure and effect on the decision-making process. The writer uses force symbolism to show faith in particular actions. Themes One of the significant ideas in the text is courage. Luke overlooks all the adventures in the galaxy to embark on an unknown journey. The audacity of Obi-Wan to sacrifice himself so that the group and community achieve the general and universal good and Han Solo’s ability to go against all the odds to achieve the desired results shows the importance of courage. The author uses it to show the significance determination to the achievement of the final objective. 8 STAR WARS: EPISODE IV – A NEW HOPE 9 The second theme is power. It is evident in the text through the use of Death Star since it destroys planets. Also, Force represents individuals and power of nature. The purpose of this theme is to show the contradiction of both energy and technology. Furthermore, Force can play an acting role or motivator towards the performance of the specific action. Lastly is the theme of dream, hope, and plans. Luke has plans and hopes to leave Tatooine and be a Jedi. Princess Leia strives to protect rebels hunted by Tarkin. Han Solo wishes for his wisdom. This theme shows the fall of the story and explains the actions and reasons for their character. Historical Context The film is written some years after the establishment of the Galactic Empire. The communities are in a state of civil war and each struggle to find and control a weapon that will destroy the other. At this time there were increased technological advances among different countries to produce war equipment that could quickly kill their enemies. The first personal computer and incorporation of Apple phone were successful during this period. There was also an attack in Washington. The historical events impact on the text through the use of a technologically advanced weapon to fight the enemy. Plot Devices The Death Star is among the commonly used plot devices in the text. It involves the destruction of the Death Star using all means available. Another plot device is the use of inciting event where the author introduces the protagonist of the text. It shows new setting and illustrates the first encounters with conflict. In the film, the writer explains the impact of adding the protagonist at the end of the film. First Pinch Point device is evident when Tarkin and Vader blow Alderaan before Leia using the Death Star. They help to show the flow of the text. The climax is the escape to the Rebel base where Artoo initiates against the Death Star, and Luke STAR WARS: EPISODE IV – A NEW HOPE 10 agrees to join and lead them. Resolution is the return of both Luke and Han to Leia, and they get awards. Narrative Point of View The author used a three-act narrative structure because of its simplicity to follow. The use of exposition enables readers to determine the type of narrative used. The third person narrative allows the audience to develop the plot and keep them active. Using a different kind of narrator will leave the viewers with many unanswered questions hence challenging to follow and understand the film.
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