These are the final two TED Talks that I would have shown in class for our last two weeks together. Due to time constraints I'm going to embed them here for you to browse on your own.
Friday, November 12, 2010
Joseph Campbell wrote the bookThe Hero With a Thousand Faces which was a study of world hero myths. Campbell found that all story-telling, consciously or not, follows the ancient patterns of myth, and that all stories, from the crudest jokes to the highest flights of literature, can be understood in terms of the hero myth; the “monomyth” whose principles he lays out in the book.
The theme of the hero myth is universal, occurring in every culture, in every time; it is as infinitely varied as the human race itself; and yet its basic form remains the same, an incredibly tenacious set of elements that spring in endless repetition from the deepest reaches of the mind of man.
The repeating characters of the hero myth such as the young hero, the wise old man or woman, the shape-shifting woman or man, and the shadowy antagonist are identical with the archetypes of the human mind, as revealed in dreams. That’s why myths, and stories constructed on the mythological model, strike us as psychologically true.
This accounts for the universal power of such stories. Stories built on the model of the hero myth have an appeal that can be felt by everyone, because they spring from a universal source in the collective unconscious, and because they reflect universal concerns. They deal with the child-like but universal questions: Who am I? Where did I come from? Where will I go when I die? What is good and what is evil? What must I do about it? What will tomorrow be like? Where did yesterday go? Is there anybody else out there?
The idea imbedded in mythology and identified by Campbell in The Hero With a Thousand Faces can be applied to understanding any human problem. The are a great key to life as well as being a major tool for dealing more effectively with a mass audience.
Please choose only ONE of the following blog's to read on Joseph Campbell's Hero's Journey 12 step cycle. These blogs were the most concise versions of the "Hero's Journey" that I could find on the internet. I do not subscribe to these blogs or know anything about these blog authors beyond these two posts.
http://vajrakrishna.wordpress.com/2010/09/07/follow-your-bliss-idiots-guide-to-heros-journey/ (This one is the simple version- I liked it the best)
https://revolutionmagik.wordpress.com/2010/09/07/the-heros-journey/ (The longer & more in-depth version of the 1st blog post)
1. Consider your reading of Coraline in relation to Joseph Campbell's Hero's Journey. In what ways do you see intersections and/or connections to some of the stages of Joseph Campbell's Hero's Journey?
2. Consider our viewing of Chihiro's journey in the animated movie Spirited Away. What intersections and/or connections, if any, can you make to the graphic novel Coraline?
3. Name one other character from a book, graphic novel, play or movie that comes to your mind when you consider Joseph Campbell's Hero's Journey and briefly describe why this character comes to mind for you.
Wednesday, November 3, 2010
Selected quotes from the Forward of Eisner's book:
This work (Eisner's book) is intended to consider and examine the unique aesthetics of sequential art as a means of creative expression, a distinct discipline, an art and literary form that deals with the arrangement of pictures or images and words to narrate a story or dramatize an idea. It is interesting to note that sequential art has only fairly recently emerged as a discernible discipline alongside filmmaking, to which it is truly a frontrunner.
Comics have undoubtedly enjoyed wide popularity worldwide. However, for reasons having much to do with usage, subject matter and perceived audience, sequential art was for many decades generally ignored as a form worthy of scholarly discussion. While each of the major integral elements, such as design, drawing and caricature and writing, have separately found academic consideration, this unique combination to a long time to find a place in the literary, art and comparative literature curriculums. I believe that the reason for slow critical acceptance sat as much on the shoulders of the practitioners as the critics.
Questions for Blog Response:
As a reader, engaging with Eisner's chapters:
(1) What surprises you?
(2) What challenges you?
(3) What frustrates you?
(4) What do you appreciate?