Monomyth/Hero's Journey

Background While recent engineering education research has focused on the pathways that students take as they transition into engineering programs in higher education, little has explicitly focused on developing an understanding of students as they select and transfer into engineering from other majors.
Purpose The purpose of this paper is to gain a better understanding of how engineering students enter the engineering field by comparing commonalities across their experiences. Given recent literature that describes student dissatisfaction toward, misinformation about, and attrition in engineering programs, we explore the lived experiences of students entering the engineering field, with a particular focus on students changing majors to engineering.
Methods This paper synthesizes the stories of 21 undergraduate engineering students from a southeastern research university, 15 of whom began their undergraduate program in other majors and transferred into engineering. We employ a unique narrative structuralizing scheme based on Campbell’s hero’s journey and use the metaphor of the beginning of the journey to understand student trajectories that locate students in engineering studies.
Conclusions With this information, we can better understand student conceptions of the engineering field when they enter; who enters the engineering field and why; how students’ expectations are or are not met in engineering programs; and what factors ultimately contribute to first-year retention in engineering programs. In general, entering students tend to have a limited understanding of what is entailed in an engineering program and benefit from interactions with advisors, teachers, and peers in the field. Such interactions may help students to more clearly decide what aspects of engineering are appropriate for them to pursue and help them to persist as they begin coursework.

Küreselleşen Dünyanın Kimlik İnşasında İnternetin Katkısı: Vimeo Web Sitesindeki Türkiye Tanıtımları

The influence of globalisation is flowed through nowadays. To understand better of globalistion term, it is suggested to look at subterms of globalisation like as world citizenship, internationalisation, multi-culturality, transnational trade, network society, suprastate or supranational organisations in culture, politic and economic areas. The globalisation as a multi-pole political world system is dervied from a world as mean of first and second which was destroyed by the 20th centruy’s world wars and end of Cold War. Furthermore, multipolarity was occured by world wide communication and computer techologies. These techonologies made the world possible for cross-border relations for nations, cultures and states. To give an exapmle for the progress we could talk about countries which have been in the economic ascendancy of Indonesia, Malesia or  cinema industruies of India, Hong-Kong etc. as an opposing force to Hollywood. One of the important result of globalisation is narrative ways of cinematic production is now more similiar with Hollywodd aesthetics.  So within the context of transborder relations with cultures is much more intensive, close, involutive than ever. At firist step of globalisation theory is discussed by general features than as second the effects of internet as an cultural tool in global era and as a last part of theory is conclued by cinema-internet relations. In the part of examination, it was looked at Vimeo contents for “Turkey’s Introductory Videos” and what kind of national and transnation contributions are done will be analyzed comparatively within context of taxonomic analyze. These analze will be classified at the basis of cultural and visual concepts. The research shows that post modern and consumerasim effects are very dominant on selected videos. Key words: Globalisation, Turkey, Transnationality, Cinema,  Vimeo
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Küreselleşme, dünya vatandaşlığı, uluslararasılaşma, çok kültürlülük, ulus-ötesi yapı ve organizasyonlar ile küresel göç gibi olgularla ön plana çıkan bir sürecin kavramsal ifadesidir. Siyasal planda ise yerkürenin birinci ve ikinci dünya tarafından yönetilişinin, 19. yüzyılda endüstriyel devrimler ile 20. yüzyılda dünya savaşları ve beraberinde gelen toplumsal devrimlerle birlikte yıkıldığı ve üçüncü bir dünya ile birlikte çok merkezli güç yapılarının ortaya çıkmaya başladığı bir dünya düzenini de ifade etmektedir. Bu gelişmelerde güç dengelerindeki değişmenin etkisi kadar bilgi ve iletişim teknolojilerinin oluşturduğu ekonomik ve kültürel yapının gücü de bir o kadar etkili olmuştur. Küreselleşme Doğu için, Asya Kaplanları şeklinde başlayan ekonomik güçlenme, Uzak Doğu ve Hint sinemasının Hollywood karşısında birer güç dengesi haline gelmesi şeklinde gelişmişken diğer yandan da kültürel bakımdan sınırların kalktığı, Amerikan sineması tadında Uzak Doğu filmlerinin izlendiği, içerik ve stillerin iç içe geçtiği bir dünyayı işaret etmektedir. Bu araştırmada ilk olarak küreselleşme genel hatlarıyla tanımlanmış; sonrasında internetin bu olguya nasıl bir katkı sağladığı tartışılmıştır. Ayrıca,  intenetin sinemasal üretimler noktasında sürece nasıl destek verdiği değerlendirilmiştir. Araştırmanın uygulama bölümünde Vimeo sitesinde yer alan Türkiye’ye özgü üretilen yerli ve yabancı içeriklerin özellikleri, Türkiye’nin tanıtımına nasıl bir katkıda bulunduğu ve bu yönde ne katkılar yaptığı ele alınmıştır. Araştırma, literatür taraması ile birlikte Vimeo sitesinde yer alan Türkiye’nin tanıtımı ile ilgili içeriklere yabancı üyelerin ne tip içerikler ürettikleri ve içeriklerini nasıl bir görsel tema ve tasrımla bütünlediklerinin belirlenmesini konu alan taksonomik analiz ile son bulacaktır. Yerli ve yabancı katkıların öne çıkardıkları argümanlar bağlamında bir karşılaştırma da yapılmıştır. İncelenen videolarda post modern kültürel özellikler bulunmuş ve küreselleşmenin anlatı dili üzerindeki etkisinin tükretim biçiminde dışa vurum içerdiği tespit edilmiştir. 
Anahtar Kelimeler: Küreselleşme, Türkiye, Ulus-ötesi Sinema, Vimeo

Fiction written for a younger audience tends to correspond to the Monomyth, or Hero’s Journey, as defined by Joseph Campbell, and this is doubly true of fantasy-based YA and children’s literature, wherein the crossing of the threshold tends to be represented by the literal transportation of the protagonist to some kind of alternate world or reality. This paper argues that these narratives – while conforming to monomythical structures and tropes – primarily represent the fulfilment of the first chapter of Campbell’s pattern, and the development of a transitional identity for its protagonist. This analysis is supported through a dual methodology. Firstly, through close readings of three key YA texts – Coraline by Neil Gaiman, A Monster Calls by Patrick Ness and A Song for Ella Grey by David Almond. These have been chosen both for the contrasting ways in which they approach folkloric and mythological tropes and storytelling patterns, and because of the differing ages of the novels’ protagonists. This enables me to explore the different impacts of the transitions in question on young people at different stages of their emotional development.  Secondly, the stages of the Hero’s Journey itself are contrasted with each protagonist’s progress, and, in this way, the Monomyth is shown to be open-ended in nature.

The opening stage direction in Samuel Beckett’s Waiting for Godot (1953) is a simple one-line sentence: ‘A country road. A tree’ (2006 1). This ostensibly situates the protagonists in the midst of a journey, yet famously, it is one that seems without a clear purpose, progress or end. The country road where Gogo and Didi find themselves is a circular one. The protagonists are forever unable to move beyond their present state, trapped in an uncertain journey that appears to lead nowhere. In this way, Beckett reappraises the travel motif albeit producing a reversal of its conventional significance, in an effort to challenge the teleology of this archetype. Many absurdist playwrights and prose authors of the twentieth century echo Beckett’s efforts through the use of a variety of circular narrative forms. Aiming to destabilise the logic and World-view implicit in the linear teleological narrative structure of the hero’s quest (as theorised by Joseph Campbell), these texts exemplify that in literature, as in any journey, it is the journey itself, rather than its aim or end (telos), that is most important. Moreover, the circular form of these texts explicitly avoids ‘the end’ degrading ‘the way into a means’, as Beckett himself writes in Murphy. This paper will look at a range of European circular narratives, both in drama and prose, in order to explore the ways in which they challenge the teleology of the journey, by turning the path of their roads into circular ones. The analysis will refer to works such as Raymond Queneau’s The Bark Tree (1933), Fernando Arrabal’s Fando and Lis (1957), and Alain Robbe-Grillet’s The Erasers (1953) and In the Labyrinth (1959), as well as Beckett’s Waiting for Godot.

O presente artigo tem como objetivo apresentar um estudo acerca da jornada do herói da personagem Fa Mulan do filme de animação Mulan (1998) dos estúdios Walt Disney. Em um primeiro momento, será abordado sobre o contexto do qual o filme foi produzido para em seguida apresentar as etapas dessa jornada e de como foi utilizado o conceito de Joseph Campbell para a construção narrativa do filme. Logo após, será analisado sobre os efeitos e as contradições dessa jornada de Fa Mulan e de como ela possui como base representações orientalistas que por sua vez estão presentes na ideia que seus produtores tem sobre a sociedade chinesa. Dessa forma, será discutido sobre como o orientalismo está intrinsecamente ligado às ideias de gênero e de masculinidades hegemônicas presentes no filme e de como esses conceitos dão significado para essa jornada.

This paper aims to address the rewriting and reinterpreting of the Apocalypse, from the Book of Revelation in Good Omens by Terry Pratchett and Neil Gaiman. Reinterpreting, reworking and rewriting of legends, myths and fairy tales represent one of the main characteristics of fantasy fiction. Although apocalypse as a plot device has been widely used in popular culture, in Pratchett and Gaiman's work it is used to provoke a discussion challenging the Christian representation of the world. The novel engages in a polyphonic, intertextual debate on the subject, subverting, reinventing and reinterpreting previous literary tradition. The approach is rather humorous, disguising such a philosophic debate under a witty wordplay. In Pratchett and Gaiman's version of the apocalypse, the Antichrist is represented by a child going on a journey of self-discovery with surprising results. His Hellhound becomes a simple pet, whereas Aziraphale, an angel, living on earth as a bookshop owner, has got a demon as a best friend-Crowley. The novel will be examined through the lens of formalist and structuralist reading, in order to analyse its reinterpreting of apocalypse as a modern myth.

Resumen: La elaboración de la tesis, desde que se selecciona el tema y desarrolla la propuesta de investigación, pasando por la ejecución del estudio y el análisis de los resultados, hasta llegar a su redacción, es un camino muy largo. En no pocos trabajos de tesis el tiempo se extiende infinitamente y al tesista le parece el cuento de nunca acabar. A medida que pasan las semanas, los meses y a veces hasta los años, a algunos estudiantes les parece que la tesis es el peor negocio de sus vidas; en cambio, quien con optimismo ve esta prueba como un reto intelectual, esta travesía podrá figurársele una odisea repleta de toda clase de experiencias. Para colmo, el COVID-19 vino a complicarles la vida a los tesistas (y al mundo en general), quienes para no perder el piso tienen que ponerle ingenio a este momento que multiplicó los inconvenientes para alcanzar su meta, según lo habían planeado con anterioridad. Ante situaciones como esta, el paradigma del viaje del héroe de Joseph Campbell, ha sido utilizado como un recurso motivacional para transitar con el espíritu en alto y gestionar positivamente la tesis en tiempos de crisis.
Palabras clave: Viaje del héroe, Tesis, Escritura de tesis, Crisis, Motivación.

Kurt Vonnegut’s Slaughterhouse-Five (1969) has remained the most widely
discussed of his novels in the five decades since its publication. However, the
volume of critical work produced on it far outweighs the unique lines of
thought investigated. The critiques have mostly been limited to – diagnoses
of Billy Pilgrim’s mental disorder, locating the sources of the diagnosed
ailments, examinations of Vonnegut’s intended philosophy, comparisons of
the novel to other anti-war works, and investigations of the elements of
humor and science fiction in the novel. This article attempts a close reading
of the novel along the lines of the hero quest, or monomyth, as chronicled in
The Hero with a Thousand Faces (1949) by Joseph Campbell. The article
disentangles the novel to release the inherent quest narrative from its nonlinear structure and reinterprets it in terms of Campbell’s quest stages to
reveal an uncanny resemblance to the mythical hero’s journey. The nature of
the journey and the hero’s traits, and the departures observed in Vonnegut’s
monomyth from Campbell’s determine the relevance and implications of
Billy’s quest and warrant the need to coin his quest anew, namely the antimonomyth

This paper examines Peter Jackson's re-visioning of J.R.R. Tolkien's Aragorn, using as its departure point Lawrence and Jewett's analysis of the distinguishing features of the American superhero monomyth in The Myth of the American Superhero, and contrasting it with the view of Tolkien's future king as the epic hero set forth in Flieger's classic article "Frodo and Aragorn: The concept of the hero."

One of the first full-length academic projects on the television series Smallville, this collection of new essays explains why the WB/CW series is important to understanding contemporary popular culture. The essays are presented in four sections covering broad categories: Clark’s metamorphosis to Superman and the influence of his parents and the home; the role of the series’ noteworthy female characters; the series’ representations of the Other, explorations of identity, and the ways in which characters speak to Clark’s own struggles; and audience reception of the series and its position within the Superman narrative universe.

How does a digital influencer come about? This is the main question this study tries to answer. Using interviews and audiovisual analysis with some prominent digital influencers from 2010s, this study describes the context in which these characters emerge and their main similarities and differences in comparison with celebrities. This work also drafts a potential digital influencer journey, in a parallel with Joseph Campbell's Hero's Journey, showcasing how this digital influencer emerges through gradual and incremental steps. In addition to that, the study also lists potential impacts and attention points for communication strategies that might involve the participation of such digital influencers.

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Como surge um influenciador digital? Essa é a principal pergunta que este trabalho tenta responder. Através de entrevistas e análises audiovisuais com alguns influenciadores digitais de destaque da década de 2010, é descrito o contexto que permite o surgimento da figura do influenciador digital, além das diferenças e semelhanças deles com as celebridades. Também é esboçada uma potencial jornada do influenciador digital, em um paralelismo com a Jornada do Herói de Joseph Campbell, demonstrando que o surgimento do influenciador digital acontece através de etapas incrementais e graduais. Além disso, são elencados os potenciais impactos e pontos de atenção das estratégias de comunicação que incluem a participação destes influenciadores digitais.

Hercules by Walt Disney is a fairy-tale type movie that re-tells well-known greek myth about Heracles, ancient Greek hero. In this paper I try to analyze the title character in order to prove that he is a monomythical realization of the contemporary superhero, with it’s main features, like: „the otherness”, being a celebrity and a potential lover. The movie also provides the actualization of a myth with its new American conservative values. However, many suggestions in it imply creating a distance between this new production and the classical Disney’s animations, like Snow White. Hercules also comments on the popular culture itself and reminds the viewers what does it mean to be.

"Student Learning Outcomes
Students will be able to—
• Discuss the relevance of Joseph Campbell’s monomyth, otherwise known as “The Hero's Journey,” to female protagonists
• Summarize the similarities and differences between Campbell’s “The Hero's Journey”  and various theories of a “Heroine’s Journey”
• Identify elements of a “Heroine's Journey” in a given text or film"

The life of the Danish writer Hans Christian Andersen (1805–1875) resembles that of his most famous fairy tale, The Little Mermaid (1836). I chose the feminist framework to deconstruct The Little Mermaid due to the blatant patriarchal roles seen within the texts. The story is male driven and privilege, power, oppression, and sexual intrusion are all present within the fairy tale as well as the 1989 Disney film. At the same time, there is a hidden layer of LGBTQ+ traces, which can be deconstructed by looking at the confusion in the themes that Andersen uses. Analysing The Little Mermaid is problematic as she doesn't fit in the common models The Hero's Journey and the Actantial Model; she is a misfit that cannot live up to expectations. This makes her the perfect representation for a queer personality in a cis- and heteronormative environment.

This paper provides a brief introductory interpretation of some key archetypal motifs in the Celtic mythology of Tristan and Isolde.  The interpretation is based on elements taken from numerous interpreters of the myth, from Thomas of Brittany and Gottfried von Strassburg to the contemporary retelling by the French scholar, Joseph Bedier, from which the current author’s narrative is largely derived.  An archetypal tale of forbidden love, the story of Tristan and Isolde is one of the most profound and thoroughly developed archetypal stories of the hero journey, utilizing more than 60 archetypal symbols and motifs, rich with metaphorical imagery closely corresponding to the images found abundantly in the world’s myths, rites, shamanic initiations and Jung’s individuation process.  The narrative is augmented with amplification by archetypal images appearing in the Celtic tale that are also found in mythopoeic narratives of the ancient Greeks, Hebrews and other cultures.  Possible psychological meanings of the images are indicated, and a bibliography is provided for further research.

As an interaction between art and technology which cross age and cultural barriers, Hayao Miyazaki's animated movies may be useful tools for providing an example of some of the ways we may enter into a free relationship with technology as suggested by Martin Heidegger (1977), while disseminating the foundational ideas of the new ethical framework for sustainability as proposed by Hans Jonas(1984). Part of this paper was published in 2017 on Threads Vol. 5.

Journal of the Interdisciplinary Study of Monotheistic Religions (JISMOR) 10/ March 2015

The legendary biblical monster of the deep known as Leviathan was part and parcel of the destructive forces that sought to annihilate the world. Yet, according to another popular Jewish belief, a similar sea creature is associated with the spiritual idea of repentance and rebirth.  This article examines the Leviathan/whale image and its cultural depiction in ancient Jewish literature, as well as its influence on medieval Christianity. I contend that the roots of the Leviathan image in western society grew and spread over the centuries, becoming an integral part of traditional lore, as well as religious ethos, in different cultures. Each society depicted the legendary creature in a distinct manner in response to its own collective primal fears, kneading it into a source of strength and hope in times of anguish. In other words, this paper attempts to demonstrate that the image of the giant monster ultimately serves as a source of strength and consolation, whether it is defeated (as in ancient pagan civilizations), controlled (as in Judaism), or brandished as a threat of punishment for sinners (as in Christianity).

This bachelor thesis analyses the literary techniques used to convey a culture-critical message about our relation to online media in The Circle (Dave Eggers, 2013) and Ready Player One (Ernest Cline, 2011). Both novels are a pressing warning against our dependence on online media, and attempt to warn their readers against media. They do
so by creating a contrast between the dystopian character of the novel and the utopian society as their narrators see it. This contrast is further strengthened by the opposing of the real world and the online world in both novels. Secondly, the protagonists are used to
convey the warning. Both have to make a choice at the end of the novel; whether to choose for the real world or remain in the online world completely. Ready Player One features a heroic narrator, who makes the heroic choice in choosing for the real world. The protagonist of The Circle however remains a flat character throughout the novel, with whom a reader cannot sympathize, and who eventually chooses the online world over the real world. This thesis will show exactly how Cline and Eggersconvey the warning in their novels.

School: Istanbul Dogus University
Department: English Language and Literature
Graduation Project Advisor: Assist. Prof. Dr. Gillian M. E. Alban
Completion Date: June 2010

ABSTRACT

Harry Potter and the adventure he sets off on have enchanted people for over ten years now. Some love it, some hate it; some wrote numerous books and research papers on it. Harry Potter is an orphaned boy whose parents were murdered at the hand of the darkest wizard of all ages, Lord Voldemort. He was brought to live with his dreadful relatives, the Dursleys, and when he was eleven years old, he found out from a letter coming from a magical school called Hogwarts School of Witchcraft and Wizardry that he was actually a wizard. It was only after he started his education that he found out he was somehow linked to that darkest wizard and expected to destroy him. The interesting part of Harry Potter’s journey is that it follows the basic structure that each and every hero one way or another goes through. In his The Hero with a Thousand Faces, Joseph Campbell calls it monomyth, that is to say one myth. This concept is closely linked to Swiss psychiatrist Carl Jung’s opinions on the archetypes. According to the monomyth structure, the hero starts his journey with Departure, faces temptations and very dangerous, life-changing trials in Initiation. The Return is the last section in which he comes back from his journey with the knowledge and wisdom he gains through those trials, and is expected to heal the world(s) he lives in.

There are countless mythological allusions in the Harry Potter series that enable us to connect Harry and his exploits to many mythical figures and events respectively. Just as Cerberus is illustrated as a three-headed dog guarding the gates of Hades in Greek mythology, in Harry Potter it has the same guarding job and is responsible for the protection of the entrance to the Philosopher’s Stone. Phoenix, Basilisk and many other connections and symbols are fittingly discussed and put into the storyline to enrich it. These connections and the choices Harry makes throughout his adventure help us understand why and how Harry is considered to be a hero.

During a literary career spanning almost three decades, Neil Gaiman has managed to position himself as a prodigious architect of modern fiction writing which exudes a particularly recurring structural pattern. Gaiman allows his prose to dance jovially both to the beats of the traditional and the unconventional, and his 2002 multi award-winning dark fantasy novella, Coraline, outlines the same trajectory. As a result, the titular tale transcends the boundaries of juvenile fiction under which it is generally categorised and yields itself to multilateral examinations, one of which this paper purports to tackle. It also aims to retrace the titular heroine’s adventure by applying Joseph Campbell’s theoretical framework offered in his seminal mythological study, The Hero with a Thousand Faces (1949), and ultimately aspires to decode Coraline’s process of maturation by examining several developmental stages of her sense of self.

Жизненный и творческий путь Джозефа Кэмпбелла (1904 – 1987) можно справедливо назвать «страстным интеллектуальным путешествием», вполне подпадающим под описание пути героя. Познакомившись поближе с биографией учёного, мы можем извлечь для себя много полезного как в профессиональной  деятельности, так и в личной жизни.
Мифология заинтересовала Дж. Кэмпбелла ещё с детства и  впоследствии стала для него тем самым «блаженством», следование которому он считал главной целью жизни любого человека. Сначала погрузившись в мифологию североамериканских индейцев, довольно скоро учёный значительно расширил границы предмета своего изучения, включив в него все мировые мифологии.
Уже в самом начале своего исследовательского пути Дж. Кэмпбелл пришёл к пониманию взаимосвязи мифологии с психологией, литературой и искусством, и хотя в те годы официальная наука не признавала междисциплинарного подхода, именно новаторские идеи учёного позволили ему стать выдающимся мифологом XX века.
К наиболее важным теоретическим построениям Дж. Кэмпбелла относятся описанная в «Тысячеликом герое» концепция мономифа (единой великой мистической истории, рассказываемой во все времена и во всех регионах), выделенные в «Масках бога» 4 основные функции мифа, а также предложенная модель развития мифологии.
Дж. Кэмпбелл делал основной акцент на психологическую функцию мифа: миф для него – это проводник во внутреннем мире, а мифология – средство стимуляции психологического развития индивидуума и постижения его особенностей и закономерностей. Он считал, что миф представляет собой универсальную матрицу личностного роста и трансформации, и что, понимая, каким образом мифы и символы влияют на наше сознание, мы сможем жить в согласии с собственной сокровенной природой и следовать по пути к счастью. Такой подход принёс огромную популярность идеям учёного, сделав их особенно актуальными и близкими для каждого человека.
Дж. Кэмпбелл нашёл своё призвание в жизни и неизменно следовал избранному пути. Он считал, что должен что-то сделать для человечества, и ему это удалось сполна. Выдающийся учёный, одарённый преподаватель и лектор, прекрасный оратор, увлекательный сказитель – это далеко не полный перечень всех граней таланта Дж. Кэмпбелла. Его вклад в сравнительную мифологию сложно переоценить, как и его роль в возрождении интереса к мифологии в современном мире.

Girls (HBO, 2012-17) é uma série de dramédia estadunidense que desde seu lançamento suscitou muitos debates de diferentes vieses. Ao longo de suas temporadas é perceptível uma mudança de um viés predominantemente cômico para um aumento de carga dramática na narrativa. A proposta desse trabalho é analisar como essa dinâmica de tensionamentos entre euforia versus disforia, que enxergamos como intrínseca à dramédia, causa impactos diretos na tipificação cômica (BERGSON, 1983; JAUSS, 2005) da protagonista e em sua Jornada do Herói (CAMPBELL, 1949; VOGLER, 2006), o que vemos que reflete também em sua estrutura narrativa quanto a uma lógica mais episódica ou serializada (MITTEL, 2006; NERI, 2015). Assim, nos propomos a analisar como o imbricamento entre drama e comédia impacta diversos elementos textuais do nosso objeto de pesquisa.

Fumito Ueda’s works have contributed significantly to the fact that video games are well-known as artistic products. “The Last Guardian” (2016), his third video game, seems to be an evolution of his unique style and aesthetics, specially the mythological aspect.
In the present investigation, we are going to analyze the story of “The Last Guardian” (2016) from two different theoretical frameworks based on the relationship between myths and modern storytelling: the archetypical plots and the hero’s journey. That exposition is going to let us notice the mythological influence in Ueda’s video game.

Los trabajos de Fumito Ueda han contribuido significativamente a que los videojuegos sean bien conocidos como productos artísticos. “The Last Guardian” (2016), su tercera obra, parece ser la evolución de su estilo y estética únicos, especialmente del aspecto mitológico.
En la presente investigación, vamos a analizar el argumento de “The Last Guardian” (2016) desde dos marcos teóricos distintos basados en la relación entre los mitos y la narrativa moderna: las tramas arquetípicas y el viaje del héroe. Todo con el objetivo de entrever la influencia mitológica en el trabajo de Ueda.

Kurt Vonnegut’s Slaughterhouse-Five (1969) has remained the most widely discussed of his novels in the five decades since its publication. However, the volume of critical work produced on it far outweighs the unique lines of thought investigated. The critiques have mostly been limited to – diagnoses of Billy Pilgrim’s mental disorder, locating the sources of the diagnosed ailments, examinations of Vonnegut’s intended philosophy, comparisons of the novel to other anti-war works, and investigations of the elements of humor and science fiction in the novel. This article attempts a close reading of the novel along the lines of the hero quest, or monomyth, as chronicled in The Hero with a Thousand Faces (1949) by Joseph Campbell. The article disentangles the novel to release the inherent quest narrative from its non-linear structure and reinterprets it in terms of Campbell’s quest stages to reveal an uncanny resemblance to the mythical hero’s journey. The nature of the journey and the hero’s traits, and the departures observed in Vonnegut’s monomyth from Campbell’s determine the relevance and implications of Billy’s quest and warrant the need to coin his quest anew, namely the anti-monomyth.

This article considers problems facing the African artist in the period shortly after independence, with a particular focus on the use of myth in Armah’s second novel, Fragments. It investigates the novel’s representation of the way myths are co-opted by the new bourgeoisie, specifically the ‘pariah literati’ in Nkrumah’s Ghana, while also suggesting the regenerative potential inherent in traditional myths that have retained their earlier force. It discusses three particular myths that are central to Fragments: the Akan myth of Mame Water and the Musician; the Melanesian myth of the cargo cult, a central myth for societies that have felt the brunt of colonialism; and what Joseph Campbell has referred to as the ‘monomyth’, the supposedly universal myth of the heroic journey. It defends Armah against the twin charges of pessimism and the ahistoricism that can arise when myth is used, in Roland Barthes’ words, as a form of cosmic conservatism. It examines the form of the novel, with reference to Modernism, Marxist ideology and socialist texts, such as Doris Lessing’s The Golden Notebook, which the protagonist Baako is reading shortly after he returns to Ghana.

The term "meaningful play" had entered the gaming vernacular in recent years, particularly in conjunction with independently developed ("indie") videogames, but little to no consensus still exists among scholars and gamers as to what exactly makes an act of play "meaningful". In order to approach this question from a scientific and analytical perspective, the present study borrows the methodology and concepts of semiotics, the formal study of signs and meaning-making, and applies them to Journey, a popular videogame lauded by critics for facilitating meaningful player experiences.

The study builds upon the ludic framework, a semiotic theory of meaningful gameplay currently in development by the French videogame researcher Frederic Seraphine, and consists of two parts. First, we give a brief overview of the three key theories underlying Seraphine's work (the semiotic studies of Charles Peirce and his students, the cybertextual studies originating with Espen Aarseth, and the Mechanics-Dynamics-Aesthetics framework), before examining the ludic framework itself in detail. We then analyze the production background and history of Journey and perform a semiotic analysis of select elements of its visuals, mechanics, and levels in an attempt to better understand its way of creating meaningful player experience. Finally, we draw conclusions both about the applicability of semiotic analysis to contemporary games and about the question of meaningful play itself.

"Student Learning Outcomes
Students will be able to—
• Discuss the prevalence of Joseph Campbell’s monomyth, otherwise known as “The Hero's Journey,” in ancient and modern stories in numerous cultures
• Summarize the central elements of “The Hero's Journey”
• Identify the elements of “The Hero's Journey” in a given text or film, or in an original plot outline"

Thesis introductory chapter. This thesis examines key stages of the Hero’s Journey, or Monomyth, as set out by Joseph Campbell in The Hero with a Thousand Faces (1949) and finds that the pattern retains its pertinence and relevance in contemporary texts and media. This is accomplished through a close reading of selected contemporary texts which engage with the pattern. In doing this, the project appraises the ways in which the pattern and the chosen texts inform each other, as well as examining its continued usefulness as a critical tool, the better to shed new light on the Monomyth itself.

The thesis is structured in the same way as the Hero’s Journey itself, beginning with the "Call to Adventure" and ending with the "Master of the Two Worlds." These close examinations, each presented in a stand-alone article, serve as arguments for the pattern’s continued validity as a tool for understanding story. The narratives with which it engages represent a number of different genres and media, including Young Adult literature, action cinema, superhero comics and autobiographical graphic novels. Through these readings it is shown that the Monomyth still informs, and is informed by, these texts.
These readings work toward a new way of looking at the pattern: as a representation of the liminal space between the two established modes of existence of a story’s protagonist. Representing all that happens between the time the hero leaves the mundane world in which he has lived, and the time he returns to it transformed, the Hero’s Journey is found to represent a productive liminality that allows the hero to transition from one stage of life to the next. Revisiting the pattern using contemporary texts and media helps to bring to light its continued usefulness as a critical framework from which to assess the heroic narratives of today.

Maureen Murdock a Jungian psychologist indicates that Campbell's model of the journey of the hero/ the monomyth is not sufficient for the heroine's journey, so that she remodels it, and creates the heroine's journey which is similar to the monomyth a cyclic journey, yet it differs from the monomyth with its aspects as being an inward adventure, an inner journey of the heroine who in every stage develops, grows and at the end reach the individuation, selfactualization. Louis de Berniéres' novel Captain Corelli's Mandolin has the traces of both the monomyth and the heroine's journey together with Jungian concepts like four leading archetypes, the collective unconscious and the individuation process. Drosoula as one of the characters in the novel is the exemplary character who completes the heroine's journey and reaches the individuation. The present paper aims to analyse the inner journey of Drosoula with references to the novels Captain Corelli's Mandolin and Birds Without Wings in which her story is mentioned. In the introduction part the relation between Plato's theory of forms and Jung's archetypes are situated, in monomythic journey part in general the triangle between Campbell, Murdock and Jung is told, and in particular Murdock's model is presented. After introducing the novel Captain Corelli's Mandolin, the monomythic journey of Drosula is analysed within the framework of Murdock's model and Jungian concepts, lastly the conclusion part is positioned.
Keywords: monomythic journey of the heroine, individuation, the four leading archetypes,
Captain Corelli’s Mandolin.

A través de siete apartados se analiza la cronología de Star Wars, el contexto histórico-social que la determina y cómo se evidencia en la saga. También por qué se puede considerar Star Wars como un mito moderno y cómo refleja el viaje del héroe. Son estudiados aspectos religiosos que gira alrededor del concepto de la Fuerza, los aprendizajes biopedagógicos, la interculturalidad manifiesta en la saga y los elementos que ésta posee para que se desarrolle un nuevo camino espiritual llamado jedismo.
Abstract Through seven sections the chronology of Star Wars, the historical and social context that determines it and how is evident in the saga are analyzed. Also in which way Star Wars is a modern myth and how the hero's journey is reflected. Eeligious aspects that revolves around the concept of the Force, the biopedagogy learning, interculturalism manifested in the saga and the elements that this series of films has to develop a new spiritual path called jedism are studied.

Understanding The Red Book as an improvisation and Jung as an
improviser offers a new approach to understanding the active
imagination and the analytic method that emerged from it. Such
an approach uncovers the mētic spirit – the spirit of polytropic
intelligence – that informs The Red Book and the archetypal figure
of Hermes/Mercurius/Trickster that informs all improvisations and
will come to dominate Jung’s career. The rhetoric of improvisation
in The Red Book conveys that, uncontaminated by the directed
consciousness or ego, personae and imagoes arise spontaneously
from his unconscious and control him, not he them. Such gestures
privilege non-rational ways of making art and knowing the self and
world, part and parcel of the paradigm shift that characterizes the
20th century. Jung’s Red Book is on the leading edge of that effort
to shift from objective rationality to a rationality that can embrace
subjective elements: the unconscious and the irrational, not just
the “broad highways” but also the “back alleys” of human experience.

This chapter explores the narrative structure underlying J.K. Rowling's Harry Potter heptalogy, suggesting that it follows the model of the monomyth or hero's journey not only as a basic pattern for the whole story line, but also for each individual volume. Drawing on Joseph Campbell's The Hero with a Thousand Faces and Carl Gustav Jung's psychological archetypes, this archaic narrative has been recognised as one of the major plots in literature. According to archetypal and myth theory, these narrative patterns are part of our collective unconscious and can be observed at any time in any culture, mirroring basic human experiences. Rowling applies the hero's journey without being formulaic, but she remains true to its original form, the cycle of separation, initiation and return, while her characters take on the roles of different Jungian archetypes during the individual volumes, allowing them to develop into fully faceted personalities within the space of seven books. The article traces the eight stations of the monomyth in Harry's journey from childhood to adulthood, from chosen child to the hero of his own story, and it points out which archetypal roles the characters take on, arguing that the structure of the novels is more complex than they are sometimes given credit for.