...Harry Potter the Hero’s Journey Lucas Damron Block 3 In the first Harry Potter, our young friend is put to the ultimate hero’s journey through a series of courageous events that shape him into the perfect archetypal hero. Harry Potter thinks himself, in his dull, muggle( non-magical ) household, to just be a burdened orphan child to his impudent aunt and uncle. Little does Harry know of his importance and great idolism in the magical world, a role he will soon find out. Harry’s “Call to Adventure” forms when a giant named Hagrid, bust through his door and declares that Harry must come to a magical school where he will learn sorcery and become a great wizard. Harry’s treacherous aunt and uncle claim that Harry will not be brought about in magic and refuse to allow Harry to go, but this giant having little threat by these small muggles pays no attention and leaves the choice up to Harry; when he accepts he “Crosses the Threshold” into his adventure. Hagrid then takes Harry to the magical world where Harry learns his true importance and symbolism, to all the witches and wizards. When Harry descends to Hogwarts,(magical school) he learns of his known enemy, he who must not be named, Voldermort, who wiped out Harry’s parents years ago. He is destined to destroy this evil monster of a man. At first Harry makes friends with two characters, who will make a bond bigger than blood. When first arriving at Hogwarts he awaits his first test, a troll has escaped the dungeon...
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...The aim of this essay is to discuss the courses in which Harry Potter fits in with archetypes. As indicated by Jung (09), an archetype is a "unique example or model of which all things of the same sort are representations or duplicates.” Archetypes are the establishment for the characters from which distinction develops; characters that have been changed to a simplified and conventional form are stereotypes, and they are seen in a negative way. Two characters can be based on the same archetype (for example the hero); however, they can be totally different from each other (for example Harry Potter and Frodo in Lord of the Rings). The next section will examine the archetypes of a hero, buddy, shadow, tutor, shape-shifter, goddess, edge watchman, envoy and cheat. The Jungian Archetype As the eponymous hero of the story, Harry Potter encapsulates a few manifestations of the saint archetype (discussed by Jung in its specific manifestation of the young archetype: Jung171): he is the pure, the vagrant, the seeker, the warrior and the conjurer. As Williams (90) brings up, a hero needs to go through various continuous original structures or stages to achieve culmination at last (Williams 10). With other literary structures, Harry offers the role of the unbelievable 'lost ruler' whose fate has been predefined and who sets out to satisfy this predetermination and find reality. Pure in his launch into the enchantment group, Harry is from the beginning basically characterized by his status...
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...even different universes or realities. On one hand, Odysseus battled mythical monsters in the Mediterranean Sea for 20 years, while Cam Newton played football on the Auburn Plains for 4 years. However, both will be remembered for their legacies – Odysseus in the Iliad and Odyssey, Cam in the Raine room (Auburn hall of awards) – and for performing miraculous feats for the something greater than themselves. A few years ago, in Latin class, we studied the Hero’s Journey. We examined the Odyssey and Star Wars, comparing the main characters and their plotlines. After the unit, we recognized all notorious heroes follow the same 14-step journey, regardless of time and culture. The villains, the scenery, the motive might change across movies and books, but heroes sifted out the same: suffer a major crisis, passage through the “belly of the beast” (term for going on a physical journey), and transform themselves. In pop culture, the entertainment industry manipulates the hero stereotype, pumping out films like the Avengers and Harry Potter. These heroes possess a special ability...
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...Mythological and Modern-Day Heroes Paper Over the years, there have been many heroes embarking upon quests, overcoming odds that are extraordinary for the common person and triumphing over evil. Each hero has shared many of the same characteristics as other heroes before him/her. From literature there are the tales of Odysseus, Beowulf and Sherlock Holmes. From popular culture, the tales of Harry Potter and Hogwart’s Castle, Frodo and Bilbo Baggins from the shire and Korben Dallas and Leeloo from the movie “Fifth Element”. Starring Bruce Willis (Korben Dallas), Milla Jovovich (Leeloo) and Gary Oldman (Jean-Baptiste Emanuel Zorg), the modern day hero complete with quest, lady fair and evil provides a pop culture version of the mythological hero and the mythological quest. Korben Dallas’ Hero’s Journey starts off as a regular joe taxi driver in the year 2263. Strong, compassionate, gruff, kind, skilled, intelligent and determined, Korben is the epitome of a hero. The strength of character, will and heart are characteristics shared by all heroes. The skills Korben possesses as well as the keen intellect, seen in his witty repartee, are true standards for a hero. His Achilles’ heel is the inability to express softer emotion. His one failing is not calling his mother. Korben Dallas exemplifies a mythological hero almost solely by his Heroic personality. Throughout the movie, the charisma and manly aura Dallas possesses in great quantities is exhibited by the hero with an...
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...encyclopedia "The Hero's Journey" redirects here. For other uses, see The Hero's Journey (disambiguation). The twelve stages of the hero's journey monomyth following the summary by Christopher Vogler (originally compiled in 1985 as a Disney studio memo): 1. TheOrdinary World, 2. The Call to Adventure, 3. Refusal of the Call, 4. Meeting with the Mentor, 5. Crossing theThreshold to the "special world", 6. Tests, Allies and Enemies, 7. Approach to the Innermost Cave, 8. The Ordeal, 9. Reward, 10. The Road Back, 11. The Resurrection, 12. Return with the Elixir. In narratology and comparative mythology, the monomyth, or the hero's journey, is the common template of a broad category of tales that involve a hero who goes on anadventure, and in a decisive crisis wins a victory, and then comes home changed or transformed.[1] The concept was introduced by Joseph Campbell in The Hero with a Thousand Faces (1949), who described the basic narrative pattern as follows: 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 this mysterious adventure with the power to bestow boons on his fellow man.[2] Campbell and other scholars, such as Erich Neumann, describe narratives of Gautama Buddha, Moses, and Christ in terms of the monomyth. Critics argue that the concept is too broad or general to be of much usefulness in comparative mythology. Others say that the hero's journey...
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...HARRY POTTER AND THE PRISONER OF AZKABAN BY J.K. ROWLING CHAPTER ONE OWL POST Harry Potter was a highly unusual boy in many ways. For one thing, he hated the summer holidays more than any other time of year. For another, he really wanted to do his homework but was forced to do it in secret, in the dead of night. And he also happened to be a wizard. It was nearly midnight, and he was lying on his stomach in bed, the blankets drawn right over his head like a tent, a flashlight in one hand and a large leather-bound book (A History of Magic by Bathilda Bagshot) propped open against the pillow. Harry moved the tip of his eagle-feather quill down the page, frowning as he looked for something that would help him write his essay, ‘Witch Burning in the Fourteenth Century Was Completely Pointless — discuss.’ The quill paused at the top of a likely looking paragraph. Harry pushed his round glasses up the bridge of his nose, moved his flashlight closer to the book, and read: Non-magic people (more commonly known as Muggles) were particularly afraid of magic in medieval times, but not very good at recognizing it. On the rare occasion that they did catch a real witch or wizard, burning had no effect whatsoever. The witch or wizard would perform a basic Flame-Freezing Charm and then pretend to shriek with pain while enjoying a gentle, tickling sensation. Indeed, Wendelin the Weird enjoyed being burned so much that she allowed herself to be caught no less than forty-seven times in various...
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...Harry Potter and the Prisoner of Azkaban By J.K. Rowling CHAPTER ONE Owl Post Harry Potter was a highly unusual boy in many ways. For one thing, he hated the summer holidays more than any other time of year. For another, he really wanted to do his homework but was forced to do it in secret, in the dead of night. And he also happened to be a wizard. It was nearly midnight, and he was lying on his stomach in bed, the blankets drawn right over his head like a tent, a flashlight in one hand and a large leather-bound book (A History of Magic by Bathilda Bagshot) propped open against the pillow. Harry moved the tip of his eagle-feather quill down the page, frowning as he looked for something that would help him write his essay, ‘Witch Burning in the Fourteenth Century Was Completely Pointless — discuss.’ The quill paused at the top of a likely looking paragraph. Harry pushed his round glasses up the bridge of his nose, moved his flashlight closer to the book, and read: Non-magic people (more commonly known as Muggles) were particularly afraid of magic in medieval times, but not very good at recognizing it. On the rare occasion that they did catch a real witch or wizard, burning had no effect whatsoever. The witch or wizard would perform a basic Flame-Freezing Charm and then pretend to shriek with pain while enjoying a gentle, tickling sensation. Indeed, Wendelin the Weird enjoyed being burned so much that she allowed herself to be caught no less than forty-seven times in various...
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...r oya l e n f i e l d i n u k a n d u s a gear check keep riding january 2011 www.royalenfield.com Rider Mania 2010 War-Horse: + HandcRafted in cHennai + Bulls of sHiMoga the flying flea marketing newsletter kick start from the ceo's desk! entrepreneurs along with our most experienced dealers, with a clear vision, sharper focus and achievable suggestions and well established best practices in meeting our customer expectations. Now, what next? Royal Enfield has committed to a) Expand capacity by investing on a new state of the art manufacturing plant, to be operational in 2012. b) To launch two new bikes in 2012, to attract again the younger, performance seekers & leisure cruisers. c) To raise the bar on ‘quality’ in parts, in gloss & sheen and definitely in ‘perfecting the UCE’ to deliver ‘Top Notch’ reliability and performance. d) To expand reach in the domestic market in sales, after sales support, besides creating a ‘global foot print’ in unrepresented markets outside India. From our passionate and involved dealers & distributors I once again seek your commitment in 1) Delivering 100% “faultless” bikes post PDI to our customers. • Predictive & Preventive “post sales service competence”. • No “Vehicle off the Road”, on account of parts not available in your dealership, even for a day. 2) Adequate but well-maintained 3 ‘S’ facilities in your dealerships, confirming to RE Brand standards. 3) Your personal focus to deliver more than 95% by registering...
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...For other uses, see Fiction (disambiguation). An illustration from Lewis Carroll's Alice's Adventures in Wonderland, depicting the fictional protagonist, Alice, playing afantastical game of croquet. Fiction is the form of any narrative or informative work that deals, in part or in whole, with information or events that are not factual, but rather, imaginary—that is, invented by the author. Although fiction describes a major branch of literary work, it may also refer to theatrical, cinematic or musical work. Fiction contrasts with non-fiction, which deals exclusively with factual (or, at least, assumed factual) events, descriptions, observations, etc. (e.g.,biographies, histories). Contents [hide] * 1 Types of fiction * 1.1 Realistic fiction * 1.2 Non-realistic fiction * 1.3 Semi-Fiction * 2 Elements of fiction * 2.1 Plot * 2.2 Exposition * 2.3 Foreshadowing * 2.4 Rising action * 2.5 Climax * 2.6 Falling action * 2.7 Resolution * 2.8 Conflict * 2.8.1 Types of conflict * 2.8.1.1 Person vs. self * 2.8.1.2 Person vs. person * 2.8.1.3 Person vs. society * 2.8.1.4 Person vs. nature * 2.8.1.5 Person vs. supernatural * 2.8.1.6 Person vs. machine/technology * 2.9 Character * 2.10 Methods of developing characters * 2.11 Symbolism * 2.12 Metaphor * 3 Types of plots * 3.1 Chronological order * 3.2 Flashback * 3.3 Setting...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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...Fayette County Schools Research Paper Survival Guide June 2009 (revised November 2011) Compiled by: Jillian Bowen, Joanne Dirring, Monica Dorner, Greta Jackson, Shery Kearney, Ann Richardson, and Cheryll Thompson-Smith Based on the work of: Linda Brem, Kathy Franks, Cathy Nix, Ann Richardson, and Cynde Snider Table of Contents Plagiarism………………………………………………………………. Plagiarism Statement - Middle School……………………………..... Plagiarism Statement - High School……………………………….... English Research Requirements…………………………………….. Middle School Requirements…………………………………... 9th Grade Requirements………………………………………… 10th Grade Requirements………………………………………. 11th Grade Requirements………………………………………. 12th Grade Requirements………………………………………. Frequently Asked Questions…………………………………………. Annotated Bibliographies……………………………………….. Citation Formats…………………..……………………………... Common Mistakes………………………………………………. Documentation and Plagiarism…………..…………………….. Internet and Databases…………………………………………. MLA Manuscript Form…...……………………………………… Note Cards…..…………………………………………………… Outlines…………………………………………………………… Paraphrases and Quotations..…………………………………. Parenthetical Documentation……………………………...…... Quoting Poetry……………………………..……………………. Research Papers..………………………………………………. Research Process……………….……………………………… Research Projects……….……………………………………… Source Cards..…………………………………………………… Works Cited Page……………………………………………….. Research Glossary……………………………………………………. Online Resources……………………………………………………… Works Cited…………………………………………………………….....
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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...Praise for The Spirit Catches You and You Fall Down “Fadiman describes with extraordinary skill the colliding worlds of Western medicine and Hmong culture.” —The New Yorker “This fine book recounts a poignant tragedy…It has no heroes or villains, but it has an abundance of innocent suffering, and it most certainly does have a moral…[A] sad, excellent book.” —Melvin Konner, The New York Times Book Review “An intriguing, spirit-lifting, extraordinary exploration of two cultures in uneasy coexistence…A wonderful aspect of Fadiman’s book is her even-handed, detailed presentation of these disparate cultures and divergent views—not with cool, dispassionate fairness but rather with a warm, involved interest that sees and embraces both sides of each issue…Superb, informal cultural anthropology—eye-opening, readable, utterly engaging.” —Carole Horn, The Washington Post Book World “This is a book that should be deeply disturbing to anyone who has given so much as a moment’s thought to the state of American medicine. But it is much more…People are presented as [Fadiman] saw them, in their humility and their frailty—and their nobility.” —Sherwin B. Nuland, The New Republic 3/462 “Anne Fadiman’s phenomenal first book, The Spirit Catches You and You Fall Down, brings to life the enduring power of parental love in an impoverished refugee family struggling to protect their seriously ill infant daughter and ancient spiritual traditions from the tyranny of welfare bureaucrats and intolerant...
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...Instructor’s Manual and Test Bank to accompany A First Look at Communication Theory Sixth Edition Em Griffin Wheaton College prepared by Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGrawHill, an imprint of The McGrawHill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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