约瑟夫·坎贝尔

小学语文神话教学是培养学生文化认同、奠定文化自信的重要方式，当前教学多专注于情节讲解，陷入表层化困境，忽视了神话作为原型沉淀所承载的民族精神，难以实现文化育人目标。本研究以原型理论为核心，结合荣格集体无意识理论与弗莱原型批评理论，以《女娲补天》《盘古开天地》《精卫神话》等部编版篇目为载体，探究人物与母题原型的教学实施办法。通过引导学生感受神话背后的民族精神，搭建原型与现实的联结，助力学生建立文化认同，为攻克教学表层化难题提供支撑，契合义务教育语文育人要求，筑牢童年阶段文化自信的情感基础。

随着互联网的诞生与普及，古典文学的传承也有了新的演变形式。传统的古典文学增添了一些现代化的二次加工与改编，并衍生了多种多样形式的文化产品，如电影、电视剧、漫画、游戏、网络小说等现代化传承的新形式。本文探讨了经典中国小说《西游记》通过文化产品《大圣归来》的现代改编和传承，考察了传统古典文学如何随着互联网的兴起而发展，从而产生的各种现代文化产品，以《大圣归来》为例进一步分析了该电影如何遵循“英雄之旅”的叙事结构，同时 对电影的一些偏离原著小说的新元素和人物关系进行讨论，以期推动《西游记》的现代化演变。

《雄狮少年》是近年现实题材动画影片的一次突破。该片运用“英雄之旅”的叙事模式，内容上呈现两层叙事：前景的英雄成长和背景的现实底色。英雄成长遵循“英雄之旅”的叙事结构和理想主义的角色成长，现实底色则勾画了相对完整的现实图景，释放了强烈的痛感和宽厚的悲悯。拓展了有限文本的语意空间。两层叙事融合为温暖现实主义叙事，体现了人民情怀的创作观、诗意叙事和地域叙事的创作手法，为现实题材的动画创作带来新的启示。 

本文以现象级动画电影《哪吒之魔童闹海》为研究对象，以吉尔・德勒兹“解域化—再辖域化”理论为核心框架，融合符号学与数字媒介学视角，对影片的符号生产机制展开跨学科剖析，探讨影片中角色、场景、道具等符号元素的解域机制及其文化实践。研究发现，影片通过“神话原型的心理解域”“数字媒介的记忆重构”“跨代际传播的符号博弈”三重路径，构建了传统IP与当代文化的对话场域。这种解域实践不仅实现了神话符号从“集体无意识”到“个体情感共鸣”的转化，更在技术迭代与代际冲突中重构了动画电影的文化表意体系，为中国传统文化的现代化传播提供了“原型激活-媒介赋能-代际协商”的创新范式。

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

This paper explores Joseph Campbell’s concept of the "Monomyth" or "hero’s journey" as a universal narrative structure found across cultures and applies it to the character of Sun Wukong from Journey to the West. According to Campbell, the hero is a central archetype in the collective unconscious, embodying both personal and societal ideals. The hero's journey, characterized by the stages of separation, initiation, and return, provides a framework for understanding the transformative path of self-discovery. Campbell outlines this journey through seventeen specific stages, asserting that these occur repeatedly in myths worldwide. By examining Sun Wukong’s transformation from the "Heaven-born Monkey" to "The Buddha”, through the lens of the Monomyth, this paper reveals how his story mirrors the universal structure of the hero’s journey, reflecting both individual growth and cultural values.

Who is a hero, how should a hero be, and most importantly, from where has the concept of a hero derived? There are various interpretations offered by several critics. These definitions initiated some theories like monomyth and archetypal criticism. These are the theories that are directly or indirectly inspired by myths and archetypes. These myths are studied under a broader term called mythology, and later this study of myths has given rise to various other theories like monomyth and archetype. Campbell has named his theory of archetype “monomyth”, which is particularly based on the adventures and journey of a hero. The Hero with a Thousand Faces, written by Joseph Campbell, was first published in the year 1949 and serves as the foundation for the monomyth idea used in this research study. The intent behind this research is to discuss the theory of monomyth and to examine the application of this theory in the selected novel The Immortals of Meluha (2010), written by Amish Tripathi. The standard procedure for Campbell’s mythological adventure undertaken by the hero is represented as the series of three events: separation, initiation, and return. The research focuses on the characters of the novel, which are directly taken from the contents of Shivapurana. It will analyse the characters in light of Joseph Campbell’s monomyth theory, noting how well they conform to it. The primary focus of the study will be on the character of Shiva, the protagonist.

No abstract available

Adaptasi dari media komik ke film telah banyak dilakukan. Khususnya komik Gundala telah dua kali mengalami adaptasi, yaitu pada tahun 1981 dengan sutradara Lilik Sudjio dan pada tahun 2019 dengan sutradara Joko Anwar. Fenomena ini menunjukan bahwa kisah superhero lokal yang diangkat dari komik karya komikus Harya Suraminata atau Hasmi ini memiliki struktur narasi yang senantiasa memikat hati penggemarnya dari generasi ke generasi. Penelitian ini bertujuan untuk mengkaji bagaimana struktur narasi film Gundala karya Joko Anwar, sehingga diketahui keberadaan mitos yang bekerja dibalik struktur narasi film tersebut.Penelitian kualitatif deskriptif ini dilakukan dengan menggunakan pendekatan naratif. Data-data didapat melalui observasi terhadap obyek penelitian dan studi literatur. Data-data dianalisis menggunakan Teori Monomyth dari Joseph Campbell, dilakukan dengan tahapan data reduction, data display dan conclusion drawing/verification dari Milles dan Huberman. Hasil penelitian menunjukan bahwa film Gundala menerapkan 15 dari 17 tahapan monomyth. Hal ini menunjukan bahwa pendekatan monomyth pada film Gundala ini dipergunakan untuk memperkuat atribut sosok Gundala sebagai seorang “Hero”, sekaligus melanggengkan mitos tentang monomyth itu sendiri.

The Queen’s Gambit (TQG) merupakan salah satu miniseries yang ditayangkan pada platform Netflix. Miniseries ini terdiri dari tujuh episode dengan berlatar belakang era Perang Dingin tahun 50-an. TQG mengusung tema yang terbilang langka, yaitu perjuangan seorang wanita untuk menjadi orang nomor satu dunia di cabang olahraga catur yang didominasi oleh kaum pria. Penelitian ini bertujuan untuk menganalisis mitos-mitos yang terdapat pada miniseries TQG. Penelitian menggunakan metode kualitatif deskriptif dengan menggunakan framework monomyth dari Joseph Campbell sebagai kerangka analisis. Pengumpulan data menggunakan teknik observasi dan studi literatur. Teknik analisis data menggunakan analisis naratif, yaitu suatu model sistematis dalam menganalisis mitos dalam sebuah stuktur narasi. Hasil penelitian menunjukan terdapat mitos perjalanan seorang pahlawan, yang dikonstruksi pada miniseries TQG melalui perjalanan tokoh utamanya dalam meraih kesuksesan pada olahraga catur. Hasil penelitian juga menunjukan bagaimana konstruksi monomyth dalam sebuah struktur narasi dan relevansinya dengan budaya kontemporer saat ini.

Joel and Ethan Coen’s The Big Lebowski (1998) simultaneously engages with and subverts Joseph Campbell’s hero’s journey as articulated in The Hero with a Thousand Faces (2008 edition). While Campbell’s monomyth outlines a transformative cycle in which the hero confronts trials, attains wisdom and returns from his journey to spread knowledge unto others, the Dude—cast as a bumbling, slacker-detective—fails to achieve enlightenment or growth, effectively stumbling into partial solutions despite his lack of acumen. Through dream sequences, noir conventions and the figure of the extra-natural Stranger, the film teases the structural signposts of the Campbellian arc only to undermine them, positioning the Dude as both clown and unwitting hero who “abides” without transformation. Although the Dude could be said to be like Buddha in his come-what-may attitude, he never grows nor shares what he has learned with any acolytes—yet, paradoxically, his lack of development has produced a mythic afterlife in the real world through the rise of “Dudeism,” a secular, ironic mythos for non-diegetic consumers practiced by fans. Dudeism does not in fact become a diegetic religion in the same fashion as, say, Jedi-ism in the galaxy of Star Wars (Lucas 1977). Accordingly, the Coens craft a narrative that resists classical mythic resolution while nonetheless generating a cultural mythology, revealing how postmodern storytelling both dismantles and perpetuates the heroic paradigm.

ABSTRACT This special edition embarks on a critical exploration of Joseph Campbell's The Hero's Journey, challenging its dominance as a universal narrative framework and its implications for contemporary storytelling, particularly in the context of evolving media landscapes. Drawing on C.P. Nield's critique of Campbell's monomyth as a "Hollywood McMyth," the collection of articles within this edition seeks to unravel the monomyth by advocating for a narrative plurality that reflects a more inclusive and diverse spectrum of stories. Contributors to this edition engage with alternative narrative paradigms that emphasise community, companionship, and commonality, moving beyond the individualistic focus of Campbell's framework. This shift is underscored by the rise of interactive and immersive storytelling technologies, such as VR, AR, and XR, which demand a re-evaluation of narrative structures to accommodate the dynamic and fluid nature of contemporary storytelling. Through a decolonial lens, the articles collectively argue for a decentring of narrative meaning, proposing new approaches that embrace the complexities of global challenges and the multiplicity of human experiences. Setting the stage for a critical examination of The Hero's Journey, inviting readers to consider the ethical implications of narratives in shaping socio-cultural values and norms in an era of immersive and participatory media.

Vladimir Propp's Morphology of the Folktale and Joseph Campbell's The Hero with a Thousand Faces are the most famous and influential scholarly works describing the universal patterns of the hero's journey. However, there are no specific case studies comparing them. This research applies both schemes concurrently in the analysis of Pixar feature‐length animated films, with a particular focus on Coco (2017). The analysis of specific cases reveals how the two schemes can coexist in the same contemporary narrative, as well as what their similarities, differences, and most notable points of intersection are.

No abstract available

There is a privileged and multifaceted relationship between literature and myth, and this relationship is beyond analyzing literary works in terms of mythical elements they incorporate because what is mythic and what is literary are not so dissimilar. Holding this view, monomyth theory argues that there is actually a single story retold or rewritten in different ways over and over again throughout human history, and in this single story the hero always goes through same stages. Simply put, in any story the hero receives the call to adventure, steps into an unknown realm and returns after accomplishing his task. The Lord of the Rings is the product of J. R. R. Tolkien’s efforts to create a mythology for England. Therefore, he skillfully merges characteristics of epics, legends, quest stories and myths into a single pot while creating Middle-earth and the characters. From this standpoint, The Lord of the Rings requires a mythic reading and analysis. To this end, this study aims to analyze the trilogy in terms of monomyth theory focusing on Frodo’s quest. While doing so, how the monomythic pattern appears in The Lord of the Rings is taken into consideration rather than validating monomyth theory. Consequently, this study reveals that the pattern of Frodo’s quest follows all the stages of monomyth in the same order delineated by Joseph Campbell.

The purpose of this research is to discuss about the theory of monomyth and to analyze whether this theory which is usually used in myths and legends can be applied to a mystery fiction novel so that the main character in the novel can be depicted as a hero. The theory of monomyth used in this research comes from Joseph Campbell’s The Hero with A Thousand Faces (2004). According to Campbell (2004: 28), monomyth is: “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 his mysterious adventure with the power to bestow boons on his fellow man”. The standard path of the mythological adventure of the hero is a magnification of the formula represented in the rites of passage: separation—initiation—return: which might be named the nuclear unit of the monomyth. In doing this research, the writer uses qualitative method with a descriptive approach [6]. Based on the result of the analysis, the writer found that the monomyth theory is applied to the novel “Murder on the Orient Express” and the main character is depicted as a hero with some adjustments.   Keywords: monomyth, mystery, hero, separation, initiation, return

No abstract available

Adaptation studies in media have been carried out for decades since the 1950s. When media is adapted between different forms, the narrative inherently changes; even more so when they cross a cultural divide between Japan and the United States. That is precisely the topic of discussion between the anime Ghost in the Shell (1995) and its live action film adaptation Ghost in the Shell (2017). With narrative being a key focus for comparison in this article, Joseph Campbell’s Hero’s Journey is applied. Taken from his seminal work Hero with a Thousand Faces , the theory of the Hero’s Journey has been the go-to reference for monomyth studies for decades which identifies the parallelism and common themes in diverse stories, from classic myths embedded in ancient cultures to film and other contemporary media based on popular culture. Yet, most studies stop there, and do not consider bringing in Campbell’s other works—namely his follow-up collection of books The Masks of God which delves deeper into the mythologies of various regions. His books, Oriental Mythology and Occidental Mythology , zeroes in on the myths in the East and West, which would aid in conducting comparisons between materials originating from the two opposite regions, further supplementing its usefulness in adaptation studies concerning Japanese anime and their corresponding Hollywood adaptations. This article covers the changes in narrative themes corresponding to Campbell’s Oriental and Occidental mythology between the anime Ghost in the Shell (1995) and its live action film adaptation Ghost in the Shell (2017).

No abstract available

Frank Uhr and Debra O’Halloran’s Multuggerah and the Sacred Mountain (2019) is one of the few children’s picture books that explore the Australian Frontier Wars. In terms of message, the author and illustrator subsume First Nations’ resistance into the nation’s broader celebration of its participation in foreign wars. In terms of medium, they use the overwhelmingly conservative genre of picture books to deradicalise a potentially controversial topic, one that they frame using Joseph Campbell’s conception of the monomyth. Campbell’s development of the monomyth, widely referred to by his major work The hero with a thousand faces (1949/2008) was drawn from his sustained academic study of comparative mythology. He found a similar pattern emerging in a multitude of story forms, fairy tales, songs, and sonnets, and within sacred writings, dreamings, and monologue accounts. The canonical narrative arc of the hero’s journey has three core elements. It begins as the hero receives a ‘call to adventure’ and leaves the ordinary world (Separation or Departure). He or she enters an extraordinary world that requires engagement in a range of trials and challenges (Initiation), before returning home to the ordinary world, irreversibly transfigured (Return). Multuggerah and the Sacred Mountain is framed by this trajectory, thereby ensuring a familiarity that belies the reader’s lack of knowledge as to its origin. The author and illustrator thereby avoid too overt a challenge to the ideological and genre-based expectations of their readers.

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

This analytical autoethnography offers a comprehensive and insightful exploration of the researcher's academic odyssey by drawing parallels between their personal experiences and Joseph Campbell's Hero's Journey archetype. Adopting Anderson's analytical autoethnographic approach, the researcher assumed the role of a complete member of the Doctor of Education (EdD) program, engaging in analytical reflexivity to develop a theoretical understanding of their academic journey. Through systematic data collection and introspective analysis, the study uncovers thematic threads and arcs of growth that resonate with the monomythic narrative archetype. The research incorporates a comparative examination with Campbell's Hero's Journey, providing a structured framework for organizing and analyzing the autoethnographic data. This framework reveals potential connections and emergent themes throughout the doctoral pursuit. Concurrent data analysis involving reflective journals, coursework materials, social media dialogues, and communications with cohort members allows for a comprehensive exploration of the researcher's personal experiences. The analytical layered-account autoethnographic data analysis illuminates the relationship between the researcher's academic journey and the theoretical framework, elucidating the significance and relevance of their experiences within the broader context of the monomythic narrative archetype. As a result, the autoethnographic account provides a comprehensive and thought-provoking narrative of the researcher's transformative doctoral odyssey.

This study examines the representation of the archetypal hero's journey across diverse cultures and literary genres using thematic analysis. The research focuses on classical epics, Eastern literature, and modern media to explore how the hero's journey framework is adapted and portrayed in different contexts. The study employs thematic analysis to identify patterns and themes within the selected texts, including Homer’s The Odyssey, Virgil’s The Aeneid, Snorri Sturluson’s Prose Edda, Wu Cheng’en’s Journey to the West, and modern narratives like George Lucas’s Star Wars and J.K. Rowling’s Harry Potter series. Data collection involved primary texts and secondary sources, while data analysis encompassed familiarization with texts, coding, theme development, and synthesis. Findings reveal that while the hero's journey serves as a universal narrative archetype, its manifestations vary significantly across cultural contexts, reflecting unique societal values and themes. Modern reinterpretations in genres like science fiction and fantasy demonstrate the framework’s adaptability to contemporary issues and technological advancements. The study highlights both commonalities and differences in the hero’s journey across global literary traditions, offering insights into universal and culturally specific storytelling elements. Future research directions include exploring emerging media formats, subcultural interpretations, and interdisciplinary approaches to further understand the hero's journey’s evolving role in narrative frameworks.

Hero’s journey is a theory that unveils the narrative structure and process of becoming a hero. Christopher Vogler argues that the structure and pattern of becoming a hero is often depicted in contemporary literature and one of them is How To Train Your Dragon (2003) novel. This research is trying to discover the twelve stages of Hiccup’s journey in Christopher Vogler’s theory that mapped throughout the narrative. Not only that, this research also uses the archetype theory by Christopher Vogler depicted in Hiccup’s journey as a hero and trickster archetype that successfully operates in his journey. This research is using the textual analysis method and close reading to find the evidence substantially and essentially, so that hopefully this research could contribute to future research on How To Train Your Dragon (2003) novel and literature, especially hero’s journey. 

Abstract Objectives This study aimed to explore the impact of cystic fibrosis (CF) on the transition to motherhood using a strength‐based narrative approach. It sought to elevate the voices of women with CF and examine how they navigate pregnancy and early motherhood in the context of chronic illness. Design A qualitative narrative study was conducted, led by a researcher with lived experience of CF and motherhood. The study adopted a co‐constructed, interpretive epistemology to centre participant perspectives and challenge deficit‐based clinical narratives. Methods Ten Australian women with CF who had given birth within the past 5 years participated in in‐depth, semi‐structured interviews. Narratives were analysed using holistic and categorical methods, including thematic coding and story mapping. Reflexive collaboration and participant validation were used to enhance trustworthiness. Findings Narratives consistently followed the ‘Hero's Journey’ archetype, with participants portraying themselves as resilient protagonists. Key strengths included hope, leadership, discernment, child‐focus and optimism. While healthcare providers were often described as supportive allies, antagonistic interactions—particularly during pre‐pregnancy counselling—undermined trust and joy. Postpartum, women struggled to balance CF treatment with mothering roles, often prioritising their child over medical compliance. Breastfeeding emerged as a specific area of conflict between maternal values and clinical expectations. Conclusions Women with CF demonstrate significant strengths in navigating motherhood, yet face systemic challenges in receiving holistic, collaborative care. This study highlights the value of lived experience‐led research and calls for healthcare teams to offer more tailored postpartum support and nuanced guidance around treatment, parenting and breastfeeding.

No abstract available

No abstract available

Research objectives (aims) and problem(s): This manuscript investigates the reproduction of the classic figure of the mentor/educator and how, in recent times, it has transformed into the archetype of the circumstantial father in video games. Research methods and structure of the article: Through the discourse analysis of the narrative of four popular video games: God of War, The Last of Us, Bioshock Infinite and The Walking Dead, we propose: identify the plot conflicts derived from the fact that the character is a father circumstantial and discern the identifying features of this pseudo-father figure from the structural patterns of the monomyth or hero's journey and relate its characteristics with those of the classic figure of the mentor/educator. Brief description of the context of the problem: Do video games show educational models in their stories? The characters in the audiovisual narrative are a representation of the particular and universal dimension of the environment and the social context of their time. This conception of multicultural humanity allows us to understand the potential of the narrative elements that are developed in different stories and stories, such as archetypes or tropes. In the video game industry in particular, the advances in animation techniques and the community's interest in social and human issues have meant greater depth in the construction of characters and the inclusion of figures away from conventional patterns. Research findings and their impact on the development of educational sciences: The findings allow us to conclude that there is a trend towards replacing the classic archetype of the mentor with the figure of the circumstantial father. Conclusions and/or recommendations: This new character moves away from the classic pattern of Joseph Campbell's hero's journey and is more similar to the characteristics of contemporary antiheroic characters. However, this new archetype bases its teaching on resilience and sacrifice, a relevant fact as it is a figure designed to educate and instill values in young people.   Objetivos (fines) y problema(s) de la investigación: Este manuscrito investiga la reproducción de la clásica figura del mentor/educador y cómo, en los últimos tiempos, se transforma en el arquetipo del padre circunstancial en los videojuegos. Métodos de investigación y estructura del artículo: Mediante el análisis del discurso de la narrativa de cuatro populares videojuegos: God of War, The Last of Us, Bioshock Infinite y The Walking Dead, se plantea identificar los conflictos de la trama derivados del hecho de que el personaje sea un padre circunstancial y discernir los rasgos identificativos de esta figura seudopaterna a partir de los patrones estructurales del monomito o viaje del héroe y relacionar sus características con las de la clásica figura del mentor/educador. Problema de la investigación: ¿Los videojuegos muestran modelos educativos en sus historias? Los personajes en la narrativa audiovisual son una representación de la dimensión particular y universal del entorno y contexto social de su tiempo. Esta concepción de la humanidad multicultural nos permite entender el potencial de los elementos narrativos que se desarrollan en las diferentes historias y relatos, como los arquetipos o los tropos. En la industria de los videojuegos en particular, los avances de las técnicas de animación y el interés de la comunidad por temas sociales y humanos, han supuesto una mayor profundidad en la construcción de los personajes y la inclusión de figuras alejadas de los patrones convencionales. Resultados de la investigación y su impacto en el desarrollo de las ciencias de la educación: Los hallazgos permiten reflexionar sobre la posible existencia de una tendencia hacia la sustitución del arquetipo clásico del mentor por la figura del padre circunstancial. Conclusiones y/o recomendaciones: Este nuevo personaje se aleja del patrón clásico del viaje del héroe de Joseph Campbell y se asemeja más a las características propias de los personajes antiheroicos contemporáneos. Finalmente, este nuevo arquetipo basa su enseñanza en la resiliencia y el sacrificio, un dato relevante en tanto que se trata de una figura destinada a educar e inculcar valores en los jóvenes.

Shahmaran (or Yamlika), a mythological figure depicted as half-human and half-serpent, holds deep significance in both Iranian and Turkish cultural traditions and functions not merely as a folkloric character but as a complex symbol representing transformation and wisdom. The narrative of Shahmaran can be read as an allegory of spiritual initiation, depicting the hero’s descent into the sacred domain of the goddess and his access to her esoteric wisdom. Within this framework, the hero Hasib embarked on both an external and internal journey when he encountered Shahmaran; this journey symbolizes his spiritual maturation and acquisition of wisdom. This motif of initiation corresponds to a widespread archetypal pattern observed across cultures, as heroes initiated into the mysteries of the goddess often acquire sacred knowledge or power that elevates their status. In this article, I argue that Shahmaran can be interpreted not only as a mystical figure guiding the hero but also as a bee-goddess; this interpretation makes it possible for her to be read as a powerful manifestation of the sacred feminine principle, symbolically associated with the Moon, honey, and menstrual blood.

No abstract available

No abstract available

The present article explores the conceptual mappings of human experiences and their love stories thorough the lens of a metaphoric paradigm in the latest novel written by Elif Shafak, “There are Rivers in The Sky”. Following the theoretical cognitive-semantic studies of George Lakoff, Mark Johnson, and others, the article depicts the conceptual metaphors of unfulfilled love along the narrative involving two ohf the three main characters – Arthur and Zaleekhah. Unfulfilled love is a timeless theme in literature, often linked to the archetype of the hero. When unfulfilled love drives the hero’s journey, it can profoundly shape their motivations, inner conflicts, and sense of purpose. This motif highlights both the nobility and the tragedy inherent in striving for something unattainable, especially when that something is love. LOVE IS A JOURNEY is explored throughout the article in tis various conceptual instances: UNFULFILLED LOVE IS A JOURNEY, LOVE IS WORSHIP, LOVE IS PAIN, LOVE IS RESEARCH and many others. Unfulfilled love is often linked to tragic heroes, whose inability to attain love mirrors their larger struggles with destiny or personal flaws, and in this case, Arthur and Zaleekhah become tragic heroes who undergo the emotional tension of either Zaleekhah’s relationship failure, or Arthur’s loveless relationship and internal conflicts through their sacrifices in the name of pure love. Keywords: conceptual metaphor; love; journey and sacrifice mappings.

This paper proposes a critical framework centred on the literary reception of ancient Greek and Roman traditions to advance the pedagogical study of J. R. R. Tolkien's The Hobbit within secondary school curricula. By challenging the assumption that only primary texts effectively introduce classical narrative structures, this framework emphasizes how Tolkien’s strategic synthesis of the structural odyssean quest and the ethical relatable hero model functions as an accessible precursor to epic literature. The structural quest archetype, along with creature parallels that echo Greco-Roman bestiaries, operates as an aesthetic embellishment as well as a vital source for supporting foundational classical literacy, while the ordinary hero’s moral journey promotes an approachable introduction to epic heroism. J. R. R. Tolkien’s The Hobbit serves as a compelling case study, showcasing a masterful literary appropriation of antiquity that seamlessly integrates the demands of the Western Canon into a young adult narrative. Through this analysis, the paper highlights the potential of mythological fantasy to act as a preparatory text, empowering students to recognize the enduring lineage of narrative archetypes and engaging critical-analytic engagement with comparative mythology. This framework has the potential to inform educational practices, specifically through curriculum design that purposefully integrates The Hobbit as a critical scaffold for later formal study of classical reception and ancient literature, thereby cultivating a critically literate citizenry.

This study offers an in-depth examination of how family communication, role distribution, and individual identity construction are represented within digital narratives, focusing on the animated film Encanto: The Magical World (2021). Employing qualitative content analysis, the multi-generational structure of the Madrigal family, gender roles, and intergenerational conflicts are identified as central themes. The theoretical framework is grounded in Identity Theory, Carl Gustav Jung’s Archetype Theory, and Joseph Campbell’s Hero’s Journey model. The film presents a narrative that overcomes the tension between traditional family values and the pursuit of individual freedom through empathy and dialogue. Notably, the grandmother figure emerges as a carrier of family values and a pivotal element in intergenerational transmission. As a product of the digital era, Encanto: Sihirli Dünya (2021), moves beyond superficial, idealized portrayals of family, depicting a multilayered and rich family portrait that reveals vulnerabilities, conflicts, and internal transformations. Within this context, the study demonstrates that animated cinema serves not only as entertainment but also as a significant medium through which family structures, social roles, and identity formations are culturally reproduced via narrative.

Heroic images appear in ancient myths, legends, or folktales from almost every corner of the world. The Swiss psychologist Carl Jung proposed the concepts of the collective unconscious and archetypes in the early 20th century, and his hero archetype has inspired numerous literary critics, mythologists, and writers to investigate the narrative structures of the hero’s journey. The 18th century witnessed a boom in British Gothic novels and Chinese supernatural tales, among which Horace Walpole’s The Castle of Otranto and Pu Songling’s Liaozhai Zhiyi are the most prominent. Both literary genres belong to supernatural fiction, with the hero being the typical character. Based on archetypal criticism and qualitative approaches like comparative method, historical approach, and textual analysis, this study attempts to compare the heroic images in British and Chinese 18th-century supernatural fiction, revealing the resemblance and diversity of human cultures through the analysis of the heroes’ characteristics and journeys in The Castle of Otranto and Liaozhai Zhiyi. The findings show that their heroic images are created by the hero archetypes from their national mythologies and social contexts, which demonstrates the transformation from the extraordinary to the ordinary. Plain language summary Heroic images in British and Chinese 18th-century Supernatural Fiction Shift from Extraordinary in Mythology to Ordinary in Literature This study aims to explore the heroic images in British and Chinese 18th-century supernatural fiction. Why was the study done? Heroes are important characters in mythology and literature. Many scholars study the implications of hero myths and heroic images from the perspectives of psychology, mythology, and literature. The analysis of heroic images in British and Chinese 18th-century supernatural fiction could provide a cross-cultural view of hero studies. What did the researchers do? The authors summarized the famous British and Chinese hero myths, the social contexts of the 17th and 18th centuries, and analyzed the relationship between the heroic images in literature and the hero archetypes in mythology, using The Castle of Otranto and Liaozhai Zhiyi as representative supernatural novels in 18th-century Britain and China. What did the researchers find? Through the comparison of heroic images, the different cultures between Britain and China were discovered. The heroic images in literature are the “displacements” of the hero archetypes in mythology. What do the findings mean? Findings show that hero archetypes are similar across cultures and that human civilizations in different regions have commonalities. The different heroic images reflect different cultural and social contexts. From the mythological heroes of noble origins to the ordinary human heroes in 18th-century literary works, heroic images are increasingly close to the everyday lives of human beings.

The adventures of a Warsaw-based drug dealer described in the narratives of Żulczyk’s Blinded by the Lights novel (2014) and Skonieczny’s streaming series (2018) obviously are drawn from the British hip-hop composition Blinded by the Lights by The Streets (2014), both from it’s musical and narrative structure. This, in turn, is undoubtedly derived from the archetype of the mythical journey of the hero described in Jonathan Campbell’s seminal work The Hero with a Thousand Faces (1949). Żulczyk’s prose may indeed be a kind of extended gloss to the piece by The Streets, which takes the hero’s story to a higher narrative level. At the same time, however, it becomes a pre-text for the series, which can already draw on both narratives and define itself in relation to them. The above analysis shows how this interpretative dependence can be defined by the use of different models of interpretation that are embedded in two cultural patterns: the archetypal narrative prototype of a monomyth and the narrative-musical form of a hip-hop storytelling based on the cultural framework of the mythical katabasis.

The discourse engendered within this scholarly examination was stimulated by Kunene's perspective on the ascendancy of heroism above justice. This paper explores the legendary deeds of Shaka who embodies the archetype of the Zulu epic hero, aiming to define the essence of Zulu heroic ideals. It argues that justice serves as the moral guide, directing the course of Shaka’s heroic endeavours. The study adopts a qualitative research method, since the selected text is narrative data. Theoretical inspiration that illuminates Shaka’s deeds is derived from Joseph Campbell’s theory of the hero’s journey, the mythos of adventure where the hero undertakes a journey to confront a formidable obstacle, wins in that confrontation and returns home with boons. Shaka’s journey from obscurity to legendary status as a warrior and leader reflects many aspects of the hero's journey, making Campbell's theory a relevant and insightful lens through which to examine Shaka’s heroic character. The study reveals that the poem's depth lies in its depiction of Shaka’s commitment to justice through his efforts to establish a more structured and equitable society, his promotion of meritocracy, his military discipline, and his protection of the Zulu people. The study concludes that contrary to the claim of Kunene that heroism is a higher virtue than justice in Zulu society, justice emerges as the quintessential bedrock upon which Zulu heroism is built, as those who act heroically are those who uphold the principles of justice that sustain the harmony and dignity in Zulu society.

No abstract available

In the present paper, a metaphor is proposed for the depiction of rational emotive behavior therapy (REBT) with a view to aiding practitioner and client comprehension of the fundamental processes of REBT. Specifically, it is argued that the processes, and broad framework, of REBT is akin to an archetypal narrative story structure known as the Hero’s Journey, or monomyth. In the Hero’s Journey, an ordered narrative framework is followed that presents the heroic story of a protagonist, a device that has been employed across art, literature, film, and marketing. In the present paper, this Hero’s Journey story arc is used as a metaphor for REBT, with each stage of the Hero’s Journey related to a part of REBT theory and application. In the current paper, the alignment of the components of the Hero’s Journey and the components of REBT are presented in some detail. The author describes this approach as the rational emotive behavioral monomyth (REBM) and outlines how it can be positioned and applied in practice.

Although Chinese mythological animation has been rather successful in the commercial world, there is a lack of systematic narrative analysis. This paper focuses on the analysis of three Chinese 3D animated movies, namely, Nezha: Birth of the Demon Child (2019), legend of deification (2020), and monkey king rebirth (2021) and how they negotiate Western narrative structure with Chinese cultural values. We applied the Hero Journey of Vogler as a comparative construct with Chinese textual traditions of narrative (qi cheng zhuan he) to a qualitative and inter-rater textual analysis using a =.87 of Krippendorff (a =.87). The results show that there were three trends of adaptation structural continuations with cultural content modification (Nezha), philosophical reconstruction with more focus on the inner development (Legend of Deification) and not fully integrating and becoming fragmented in narratives (Monkey King Reborn). Good movies incorporate the Chinese philosophical ideas, tianming, xiao, xiuyang in the story structure instead of simply imposing cultural decorations. This study shows that the cross-cultural adaptation of narratives must be heavily philosophically entrenched, with further research on the question of how non-Western animation can both adapt to the conventions of global storytelling without being culturally inauthentic.

No abstract available

No abstract available

No abstract available

No abstract available

This study is a case of a middle-aged man. The client is intellectually excellent, but has not achieved psychologically balanced growth due to psychological problems (trauma) that occurred in the course of a dramatic life since childhood, has difficulties in interpersonal relationships, and has high levels of anxiety and depression. Sandplay counseling was conducted 24 sessions for the purpose of strengthening the ego and transforming negative motherhood. The entire process of sandplay was examined by applying Campbell's three stages of hero’s journey, the process of departure, initiation, and return. In addition, it was confirmed that the client’s trauma became the golden key and in the process of overcoming it, the inner growth of individuation progressed to the integration of consciousness and unconsciousness. The results of comparative analysis are as follows. At the beginning stage (Departure, episode 1-4), in the developmental history of knowing the adoptive mother as the birth mother until the second grade of elementary school due to the divorce of the parents and growing up with the 6 month younger sister, the hero was originally born and abandoned and went through all kinds of difficulties. Receive the call of the hero's journey to overcome. This stage of individuation is entering into the internal life that is urged by the unconscious. At this time, the client showed the direction to grow the negative maternity, guilt, and weak ego, which are the shadow parts. Second, in the initiation stage (5th - 18th), the hero goes through a gateway like the stomach of a whale and suffers. And while overcoming the ordeal, the meeting with the goddess takes place. This meeting confirmed that the growth in the true meaning of finding oneself occurs by integrating the conscious and the unconscious, distinguishing the self and persona, and consciously conscious of the shadow, anima, and animus. Third, in the stage of return (sessions 19 to 21), he realized that there is everything inside himself, adapt to the reality, become free, and move on to the process of becoming individual beings. In the sandbox, in the 19th session, a strong adult male appeared instead of a tall boy, and in the 20th session, the rise of being an individual appeared. And in the 21st episode, the last of the sandbox, a woman who had been lying down in the previous box got up and stood side by side with a man in a dress and wedding dress, suggesting integration. And in reality, they appeared to be confident in choosing a job that was beneficial to others and the environment that matched their values ​​rather than remuneration. The hero who returned to reality expressed his firm will to live a life that contributes to mankind. Accordingly, through a case study of sandplay counseling, based on Campbell’s hero’s journey, Jung’s process of individuation, persona, was distinguished, and the process of internal growth to find oneself by consciously consciously identifying the shadow, anima, and animus was confirmed.

No abstract available

No abstract available

Joseph Campbell was a scholar of comparative mythology and religion who attained great popularity by promoting the importance of mythology in people's everyday lives. His ideas have not been subjected to rigorous testing, however. So, it is unclear if they are useful for people trying to attain optimal psychological functioning or if they could contribute to current research and theorizing in psychology. In this paper, we summarized Campbell's psychology-related ideas. Then, we assessed those ideas in relation to modern psychology research. We found that many of Campbell's ideas are consistent with existing evidence and theory. This means his ideas could stimulate and organize future research and they could help people attain optimal functioning.

The article takes the famous American writer and mythology scholar Joseph Campbell's "Heroic Journey" theory as a clue to make a comparative study of "Braveheart" and "Wolf Warriors II” and analyze the cultural differences on heroic shaping between the Chinese and English.

The subject of the article is the narrative organization of the story by the famous Yakut writer Vasily Vasilievich Yakovlev "Kyttа kyrd'ybyt t өңkэ tiit" ("The Larch That Has Aged with Me"), which has a mythological basis. The myth serves as a starting point for creating original works that reflect not only universal human experience but also the unique vision of the world by a specific author. In studies addressing the interaction of mythology and literature among the peoples of the North, Siberia, and the Far East, conducted by literary scholars such as V.T. Petrov, N.N. Toburokov, V.B. Okorokova, A.N. Myreeva, P.V. Sivtseva-Maximova, N.V. Pokatilova, V.G. Semyonova, L.N. Romanova, and others, the source of the emergence and formation of literary tradition is identified as their oral folk creativity and mythology. A comparative analysis of the mythological allusions presented in the story is conducted in the context of the universal model of the monomyth established by American researcher Joseph Campbell. He proposed a psychoanalytic theory of monomyth— a single plot structure common to many mythological narratives, resulting from his work in comparative mythology. The novelty of this article lies in the fact that it first explores the universal aspects of the monomyth in Yakovlev's story "Kyttа kyrd'ybyt t өңkэ tiit" ("The Larch That Has Aged with Me"). In conclusion, we have come to the conclusion that the distinctive narrative and thematic foundation of the work serves as evidence of the author's myth-making character, reflecting the realities of the time and the culture of the people. The conducted research allows for the notion that the path of the old man Mikipper, the archetypal hero of the story "The Larch That Has Aged with Me" by Vasily Yakovlev, is a metaphor for the path of ancestors who inhabited the harsh land of eternal permafrost. This path, accompanied by overcoming difficulties, is reflected in the image of the majestic larch—a symbol of resilience and life force, which has sent deep roots into the eternal permafrost. The larch, aged alongside Mikipper, becomes not only a witness to his personal story but also an embodiment of the collective memory of the people, preserving memories of the struggle for survival and adaptation to harsh conditions.

The purpose of this article is to discuss the concept of narration in the “electracy” (cultural phase following the orality and literacy). The article draws inspiration primarily from media theory (McLuhan, Ulmer) and comparative mythology (Campbell). The text analyzes the short film Get Lost in Great Stories (Jason Scott, 2020) which celebrates the power of big screen entertainment whilst shining a light on the overwhelming distractions in all of our everyday lives. The imaginations of cinema and media experiences included in the spot are analyzed in terms of time, space, attention, and engagement of communication participants. The text analyzed the indicated differences as manifestations of two culture models: the scene model and the interface model. The scene model assumes a separation between the work of art and the real world, as well as between the creator and the recipient. In contrast, the interface model combines reality and virtuality, influencers and followers, and describes the world of actions, rather than works of art. The essay argues that narratology is no longer useful when the „electracy” comes, but the concept of myth is more appropriate, because this term is not so much about telling a story as it is about creating a sense of intense life (Campbell). Nowadays, “comp-unication” on social media and co-creation of augmented reality are a new form of myth.

During a mythical quest, a typical hero undergoes certain ordeals to achieve the heroic goal which sets him/her on the path of adventure in the first place. Facing the difficulties, the narrator offers help not only through the internal powers of the hero’s soul but also through a variety of external forces (natural/supernatural). In Greek and Persian mythology, heroes sometimes receive help from nature as a source of independent power which can bring about changes. The current study aims to hold out a few cases of natural changes in legendary quests that take ordinary natural phenomena out of their path affecting the quest results. Joseph Campbell’s list of stages of a myth is to be used for juxtaposing the natural phenomena in the myths in order to decide about the part of the legend where nature leaves a mark. The result of the study is expected to categorize different types of heroes that appear in Greek and Persian myths. Furthermore, the relationship between heroes and nature will be examined; as the Persian hero receives the natural interference during the ongoing stages of their quest as help, while the Greek hero receives the effect of nature after their death. All these are supposed to reveal the reward mechanism and how it reflects on the type of measures taken by nature. Keywords : Archetypes, Mythical Hero, Structure of Myths, Reward, Persian Hero, Greek Hero

The image of Major Pronin, a fictional counterintelligence operative of the All-Russian Extraordinary Commission for Fighting Counterrevolution and Sabotage has been well known throughout Russia for years. Yet, few could name his author, Lev Ovalov, and even fewer philologists have shown interest in analyzing the stories he originated from. By offering a detailed analysis of Ovalov’s first Pronin story “The Blue Swords” (“Sinie mechi”) this article aims to reveal some of the principal reasons this literary character became a cultural phenomenon. Relying on the comparative mythology theories of scholars such as Joseph Campbell and David Adams Leeming, it proposes that Pronin falls into the category of (Soviet) mythological heroes. More precisely, his traits and actions provide inspiration and guidance for the Soviet people and thus work to reinforce Soviet identity during a difficult time in history. The monomyth structure revealed in the storyline supports this theory, as do the mythological archetypes and relationships enriching the plot.

ABSTRACT I attempt to provide a new answer to the enduring question of why people take the acute risks of climbing mountains. In so doing, I aim to explain, but not necessarily justify, participation in such endeavours. My account proceeds by analysing mountaineering adventures in terms of myth – in particular, in terms of the myth of Sisyphus and Joseph Campbell’s work on comparative mythology and psychoanalysis – and in the light of recent research in psychology on the concept of willpower. My analyses intend to establish that mountaineering is at root the attempt to affirm, validate and acquire psychological compensation for the demands of mature and responsible human agency. Finally, I consider what this account might reveal about the meaning of game-playing, sport, and human endeavour in general.

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available

Myths, rituals, and dreams have been common traits of human beings; the underlying structure that underpins the interconnection between them and their inexplicable meanings coherently conjoined within has been a part of investigation. Accordingly, this paper analyzes dreams and archetypes for the formation of rituals in Nabin Chauhan-directed short movie Sparsha in the light of Carl Gustav Jung’s notion of ‘archetype’ and ‘collective unconsciousness’ and Joseph Campbell's understanding of myth. Sparsha presents a contestatory story of father and son because of divergent opinions regarding performing rituals. However, Aarohang, the son, ultimately observes rituals reconciling the discrepancies and difficulties. Against this backdrop, this paper argues that archetype necessitates performing a recursive pattern of behavior that becomes a ritual of a particular group of people, which is an enactment of a myth. In other words, Sparsha represents the conglomeration of archetypes and myths that unconsciously function in dreams, paving the way for observing the myths in the form of rituals. The paper discloses ritual has a long psychological trial deeply rooted in human instinct, conditioned by unconscious force and dream manifestation, and grilled by mythological narratives. This connection is the primary source that fuels the mechanism that perpetuates the domain of rituals thereby clinging to mythology. 

This study explores the study of situational archetypes and has the objective to investigate how situational archetypes are described in the main characters in The Dark Tower film. In literary work, the situational archetype is defined as the image or the character that the readers want to pursue. Situational archetypes have the function to build the character by appearing the certain condition and the situation that the main characters face in the film. By using the situational archetype, it will be explained the detail why the character may do the quest.The objectives of this study are to find situational archetype on main characters in Nicolaj Arcel’s The Dark Tower film and how do the situational archetypes build the main character in The Dark Tower film.This study is typical library research with descriptive qualitative method. This study used archetype theory by Carl Gustav Jung (1942), Hero archetype by Joseph Campbell (2004), and also movie analysis.The results reveal that there are seven types of situational archetypes find in The Dark Tower film. This results consist of the Departure, the Initiation, and The Return. The departure describes how the characters introduced  as they are presented with and prepare for their journey. There is often a rite of passage or quest in which the hero must prove or in order to achieve their certain goals. It can be seen that the task in the film increase and the character may finish several tasks through the journey. While the character have the journey, the character will face the unpleasent life and pleasent life.Keywords: archetype study, situational archetype, the dark tower film

No abstract available

As Carl Jung and Joseph Campbell note, archetypes, or general ideas of human types, strongly influence societies, particularly the heroic archetype. Since the 1890s mainstream cinema has facilitated the heroic archetype for worldwide audiences. This article argues that Paul Muni (1895-1967), Edward G. Robinson (1893-1973), and John Garfield (1913-1952) became the first important Jewish-American film actors to help develop the ambiguous heroic archetype in the United States’ studio system from 1929 through 1948 in two ways: Muni’s and Robinson’s critical performances in the 1930s and 1940s, particularly in gangster and film noir films, and Garfield’s films from 1946 through 1948.

Huyền thoại học là một lĩnh vực nghiên cứu quan trọng và có đóng góp ngày càng phong phú đối với đời sống tinh thần của con người hiện đại. Từ lý thuyết cổ mẫu (theory of archetype) của Carl Jung đến huyền thoại gốc (monomyth) của Joseph Campbell, huyền thoại học đã bước dần xuống những bậc thang từ ngôi đền hàn lâm để đến với đại chúng. Sự vận dụng lý thuyết “huyền thoại gốc” trong lĩnh vực nghiên cứu văn học tại Việt Nam bắt đầu từ khoảng hơn một thập kỷ trở lại đây và đã có một số công trình, bài viết có đóng góp về lý luận. Trong lĩnh vực sáng tác, theo khảo sát của người viết, mô hình tự sự “Hành trình người hùng” có thể tìm thấy trong không ít tác phẩm văn học trong nước, một ví dụ tiêu biểu là Chuyện xứ Lang Biang của Nguyễn Nhật Ánh. Tác phẩm đứng vững trong lòng độc giả suốt 20 năm qua (liên tục tái bản từ năm 2004 đến nay) đã chứng tỏ khả năng thành công của mô hình tự sự này trong lĩnh vực sáng tác văn học tại Việt Nam. Bài viết khảo sát việc vận dụng huyền thoại gốc “Hành trình người hùng” trong cấu trúc tự sự của Chuyện xứ Lang Biang nhằm lý giải thành công của tác phẩm, bước đầu khẳng định khả năng sản sinh thêm nhiều tác phẩm mới của huyền thoại này, qua đó góp phần thúc đẩy sự hội nhập sâu rộng hơn của văn học Việt Nam với văn học thế giới.

Carl Gustav Jung, who developed the psychoanalytic theory pioneered by Sigmund Freud, is the person who introduced the concept of archetypal symbolism. Jung speaks of the existence of common unconsciousness in all human beings and meets this with the word “archetype”. Archetypes are accepted as universal and hereditary heritage and have existed for centuries. Archetypal method that focuses on human; literature, philosophy, psychology. The method of archetypal symbolism is widely preferred especially in the study of artistic products and literary yields. There are rich examples of archetypal symbols that gained universality as a result of the common experience, memory and life of humanity in folk tales. Shadow, anima/ animus, supreme individual all self archetypes are presented by knitting with symbolic values. In this article, the archetypal forms of the heroes in the story of Necip and Telli, which is told in the Kars region of Anatolia and listened with great interest, are examined based on Joseph Campbell's "departure-initiation-return" formula. Keywords: C. G. Jung, archetypal symbolism, Necip, Telli, Kara Bey.

This study investigates young adult and children’s literature through examining Lois Lowry’s dystopian science fiction novel, The Giver , to explore the transformational journey of the protagonist, Jonas. Following Joseph Campbell’s “The Hero’s Journey,” Jonas evolves from an ordinary child to the Receiver of Memory in a seemingly utopian yet technologically advanced society. The central concept is the child as a hero archetype, where Jonas, despite his youth, displays immense bravery and determination in questioning authority figures and seeking truth. The study raises concerns about young individuals’ agency in controlling their destinies amid significant obstacles. The research also explores Jonas’s psychological development, drawing inspiration from Carl Jung’s individuation process, whereas Jonas’ internal conflict reflects the process, characterized by integrating elements of the Self. The study aims at answering the following questions: How does Jonas, as a juvenile hero, navigates challenges in his transformative journey? In what ways is the hero archetype employed to shape Jonas’ identity as a saviour? To what extent does Jonas’ internal conflict align with Carl Jung’s individuation process? How does the integration of the hero’s journey and individuation process empower young readers to recognize their potential for change? The study concludes that this narrative structure empowers young readers, allowing them to recognize their potential as agents of change and heroes in their own destinies

The relationship between character identity and character action is an established topic of literary study. In Morphology of the Folktale, Vladimir Propp argues against the separation of "who acts" from "the question of the actions themselves," instead advocating an approach that studies characters according to their functions. Similarly, the notion of the literary archetype, as influenced by both Joseph Campbell and Carl Jung, highlights the way in which what characters do influences the way we perceive who characters are. The notion of literary stereotypes is also tied to this discussion. As Bamman, O'Connor, and Smith observe in their study of personas in film, stereotypical characters are "defined by a fixed set of actions widely known to be representative of a class." While actions are only one part of a complex network of descriptive tools that authors may use to create characters, they may offer us a useful insight into the way that certain behaviors can align with various character identity traits in literature. A study of character action may serve as a proxy to not only demarcate character types, but also to investigate what behaviors, and types of behaviors, were conventionally aligned with different groups of characters. Bamman, Underwood, and Smith (2014) attempt something similar in "A Bayesian Mixed Effects Model of Literary Character." In that work, the authors focus on modeling specific character "personas" by studying semantically related words that occur in proximity to character mentions. The authors note that "articulating what a true 'persona' might be for characters is inherently problematic" and they acknowledge that the "personas learned so far [by their model] do not align neatly with character types known to literary historians." Nevertheless, their study revealed compelling associations between certain personas and certain genres and, more importantly for our current research, that certain personas were "clearly gendered." In noting the later, the authors write that "analysis of latent character types might cast new light on the history of gender in fiction." Our work attempts a more direct and specific study of character agency in the context of character gender. To do this, we explore trends in behavior associated with male and female characters in 3,329 19th century novels.

No abstract available

This study presents an analysis, from a mythical and archetypical stance, of the archetype of the hero’s journey in Galway Kinnell’s The book of nightmares. Hence, the scholarly contributions of Carl Jung, Joseph Campbell and Octavio Paz will be mainly utilized to demonstrate how the three stages of the archetype are met: separation or departure, trials and victories of initiation, and return or reintegration with society.

Carl Jung first applied the term archetype to literature. He recognized that there were universal patterns in all stories and mythologies regardless of culture or historical period and hypothesized that part of the human mind contained a collective unconscious shared by all members of the human species, a sort of universal, primal memory. Joseph Campbell took Jung’s ideas and applied them to world mythologies. In A Hero with a Thousand Faces, among other works, he refined the concept of hero and the hero’s journey— George Lucas used Campbell’s writings to formulate the Star Wars saga. Recognizing archetypal patterns in literature brings patterns we all unconsciously respond to in similar ways to a conscious level.

No abstract available

No abstract available

No abstract available

No abstract available

No abstract available