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A mythology in film course originally offered in Summer, 2010 to middle schoolers. Topics include mythology and its role in Faerie, the Three Faces of Myth, the Cauldron of Story, archetypes, and the Hero's Journey. Films discussed include Harry Potter, Mulan, The Golden Compass, Lord of the Rings: The Fellowship of the Ring, and Star Wars.
Citation preview
FROM HERCULES TO
HARRY POTTER:
Mythology in Film
Summer, 2010
Nissa Hales
Table of Contents • What is Myth?
• Myth and Truth
• The Cauldron of Story
• The Three Faces of Myth
• Archetypes & The Hero’s Journey
• Mythical Elements from…
• Harry Potter & the Goblet of Fire
• Mulan
• The Lord of the Rings: The Fellowship of the Rings
• The Golden Compass
• Star Wars: The Phantom Menace
WHAT IS MYTH?
From Hercules to Harry Potter
WHAT IS MYTH?
Myths are…
WHO?: Constant among all humans in all times.
WHAT?: The ―glue‖ that holds societies together;
basis for morality, government, & national identity
WHEN?: The thread that holds past, present, &
future together.
WHY?: Essential ingredient in all codes of conduct;
patterns of beliefs that give meaning to life.
(Bierlein, p. 5)
A traditional story about heroes or supernatural
beings, often explaining the origins of a natural
phenomena or aspects of human behavior (Dickerson & O’Hara).
WHAT IS MYTH? (CONT.)
Myth is part of a broader
body of literature, with
fantasy & fairy tales, called
Fäerie
Fay-ry - the realm of the
Fay (a broad range of
creatures, not just fairies:
elves, dwarves, goblins,
etc.) (Tolkien).
Fairies, Goblins and Dwarfs by Howard David Johnson, 2007
Fäerie Myth Heroic Legend &
Fantasy
Fairy Tales
Geography
Historical Scope
Significance
Character Type
Meaning
Fäerie is a broad continuum, with myth on one side and fairy
tales on the other, and heroic tales and fantasy falling
somewhere in between (Dickerson & O’Hara, pp. 26 – 28).
What is Myth? (cont.)
Fäerie Myth Heroic Legend &
Fantasy
Fairy Tales
Geography whole worlds or
other worlds
a kingdom or realm a single cottage, village,
or wood
Historical Scope timeless; may span
centuries
Span a few months to
a few years
in a mater of a few days
Significance affect the whole
history of the world
whole kingdoms are
affected; large cast of
characters
affects one to a handful
of characters
Character Type Gods Heroes Everyday people
Meaning Endless re-readings;
can be understood
on many levels
Moral or easily grasped
theme
What is Myth? (cont.)
Myth Fairy
Tale Legend
MYTH AND
TRUTH
From Hercules to Harry Potter
Time Saving Truth from Falsehood and Envy by François
Lemoyne, 1737
MYTH AND TRUTH The word myth has come to mean a story which is untrue. ―Myth may be true. Any myth that has survived centuries certainly contains truth. However, myth and history are not at odds, nor are myth and truth.‖
Muthos (Greek) = word or
speech, or logos = an account through reason
Later, both came to mean "an account or story" or an account of what was true
Later, muthos - an account through story; logos - an account through reason
Plato's time – fictionalized account; muthoi - philosophical ideas
(K. C. Davis, p. 11; Dickerson & O’Hara, pp. 30 - 32)
If you believe in fairies, clap your hands!
MYTH AND TRUTH (CONT.)
―The truth of myth does not
depend on history or language.
The truth of myth stands beyond
history, enters history, and informs
history.‖
Realistic fiction contains truth about
human nature, the nature of God or
gods, love, or the absolute
corrupting power of the one Ring.
Myth holds an objective truth that is
independent of any time, place, or
culture.
The truth of myth or fairy tales is
through self recognition.
Myth reaches people in general;
universal and transcends culture.
Myth is how we comprehend our
own experience.
(Bierlein, p. 5; Dickerson & O’Hara, pp. 35 – 36;
Neal, pp. 14 - 15)
Harry Potter – The Mirror of Erised, Mary GrandPre
THE CAULDRON
OF STORY
From Hercules to Harry Potter
The Cauldron of Story (Tolkien)
Story is a soup containing bones
Soup = story
Bones = ―its sources and material‖
Ladle = author
Cauldron = massive kettle containing
all of Story ever been told
Ingredients = history, myths, legends,
fairy tales
The pot has ―always been boiling, and to
it have continually been added new
bits,‖ savory or unsavory
Author serves up
their story
THE THREE FACES
OF MYTH AND FÄERIE
From Hercules to Harry Potter
THREE FACES OF MYTH AND FÄERIE (TOLKIEN)
Three elements of reality: natural, supernatural, and man (Dickerson & O’Hara, p. 42)
1. Mythical toward the supernatural
A world of angels & demons & a supreme being
Fairy tales depend on the supernatural
Supernatural remain in the background
Viewed with a sense of mystery & awe
2. Magical toward Nature (Dickerson & O’Hara, p. 43)
Most important in the
definition of myth
Nature is magical (Trees can
move, speak, defend
themselves, get angry)
Does not deny science but it
does deny that science is the
only way to understand
nature
THREE FACES OF MYTH AND FÄERIE (TOLKIEN)
Treebeard and the Hobbits by Per Sjogren, 2003
3. The mirror of scorn and pity (mercy) towards man (Dickerson & O’Hara,
pp. 48 – 49)
Sorrow & the desire to see restoration (e.g., Gandalf to Frodo re:
Gollum, ―It was pity that stayed Bilbo's hand.‖)
We pity ourselves as a race
We pity ourselves as individuals
We feel regret and remorse for our own actions
We feel sympathy for the perpetrators as well as the victims
We hope for redemption & justice (e.g., Frodo must hope Gollum can
be Smeagol; Luke must have faith Vader can be Anakin again)
THREE FACES OF MYTH AND FÄERIE (TOLKIEN)
ARCHETYPES & THE
HERO’S JOURNEY
From Hercules to Harry Potter
The Legend of Susanuo by Howard David Johnson
Archetypes
Carl Jung :
Swiss psychiatrist & student of
Freud
Theorized there was a connection
between the psychology of people
& to universal cultural patters &
symbols
A number of symbols, themes, &
character-types existed in all
cultures
Found throughout religion, myths,
art, and folklore.
(Smith & Brown, 85 - 87)
Situational Archetypes
Quest
Initiation
Fall
Death and Rebirth
ARCHETYPES (CONT.)
Character Archetypes
Hero
Scapegoat
Outcast
Devil Figure
Archetypal Symbols
Lightness/Darkness
Water/Desert
Heaven/Hell
The Hero’s Journey
Joseph Campbell :
Scholar & world traveler
Read & analyzed myths from
around the world for 5 yrs.
straight
Theorized myths from all across
the globe, having survived
thousands of years, all have the
same basic structure. (Monomyth)
The Hero’s Journey is one of the
reoccurring patterns
• Three Phases with 17 steps
• Not every myth contains all the steps
• Phases: Departure, Initiation, and Return
(Smith & Brown, p. 91)
THE HERO’S JOURNEY: DEPARTURE
1. The Call to Adventure - the point in a person's life when
they are first given notice that everything is going to change,
whether they know it or not.
(Warren, et al. from Campbell)
ARCHETYPE
The Herald
The Herald character
issues challenges and
announces the coming
of significant change
(Campbell, p. 42)
2. Refusal of the Call - Often when the call is given, the future hero refuses to heed it.
Reasons:
sense of duty or obligation
fear
insecurity
a sense of inadequacy
anything to hold the person in his or her current circumstances
THE HERO’S JOURNEY: DEPARTURE
(Warren, et al. from Campbell)
3. Supernatural Aid
Once the hero has committed to the quest, his or her
guide & magical helper appears, or becomes known
THE HERO’S JOURNEY: DEPARTURE
(Warren, et al. from Campbell)
ARCHETYPE
The Mentor
The Mentor is a
helper who aids the
Hero in seeking a
guiding vision to help
him/her on the
journey
(Campbell, p. 59)
The Master of Jordan College gives Lyra the
alethiometer before she leaves Oxford with Mrs.
Coulter.
4. Crossing the First
Threshold
the person crosses into
the field of adventure
leaves the known limits of
his or her world &
ventures into an unknown
& dangerous realm where
the rules & limits are not
known.
THE HERO’S JOURNEY: DEPARTURE
(Warren, et al. from Campbell)
ARCHETYPE
The Threshold Guardian
Threshold Guardians protect the Special World and its secrets from the Hero, and provide essential tests to prove a Hero's commitment and worth
(Campbell, p. 64)
General Li Shang
5. The Belly of the Whale
Final separation from the hero's
known world & self
Person's lowest point?
The person is transitioning
between worlds & selves
Experiences that will shape the
new world & self will begin
shortly
Often symbolized by something
dark, unknown, & frightening
By entering this stage, the
person shows their willingness
to undergo change
THE HERO’S JOURNEY: DEPARTURE
(Warren, et al. from Campbell)
1. The Road of Trials
A series of tests, tasks, or ordeals that the person must undergo to begin
the transformation.
Often the person fails one or more of these tests, which often occur in
threes.
THE HERO’S JOURNEY: INITIATION
(Warren, et al. from Campbell)
AMULETS
Amulets, Advice, & Secret Agents
The hero is aided by the advice, amulets, and secret agents of
the Mentor, whom he or she met before his or her entrance
into this region.
(Campbell, p. 81)
ARCHETYPE
The Shapeshifter
The Shapeshifter's
mask misleads the
Hero by hiding a
character's intentions
and loyalties
(Neal, p. 85)
2. The Meeting with the Goddess
The person experiences love
All-powerful, all encompassing,
unconditional; love that a baby
experiences with his or her
mother.
May take place entirely within
the person
Very important step in the
process
Does not have to be
represented by a woman.
THE HERO’S JOURNEY: INITIATION
(Warren, et al. from Campbell)
ARCHETYPE
The Trickster
Tricksters relish the
disruption of the
status quo, turning the
Ordinary World into
chaos with their quick
turns of phrase &
physical antics
3. Woman as the Temptress
Temptations that may lead the hero to abandon or stray from his or her quest
Does not necessarily have to be represented by a woman
This step is about the revulsion that the (usually male) hero may feel about his own nature
Attachment or projection of that revulsion to women
Woman is a metaphor for the physical or material temptations of life
THE HERO’S JOURNEY: INITIATION
(Warren, et al. from Campbell)
4. Atonement with the Father
The person must confront
whatever holds the ultimate power
Usually the father, or a father figure,
who has life and death power
Center point of the journey
Symbolized by an encounter with a
male entity or someone or thing
with incredible power
For the transformation to take
place, the person must be "killed"
so that the new self can come into
being
Sometimes this killing is literal, &
the earthly journey for that
character is either over or moves
into a different realm
THE HERO’S JOURNEY: INITIATION
(Campbell from Warren, et al.)
5. Apotheosis
When someone dies a physical
death, or dies to the self to live
in spirit (e.g., Qui-Gon Jinn,
Obi-Wan Kanobi, Yoda,
eventually Anakin)
A state of divine knowledge,
love, compassion, & bliss
Can simply be a period of rest,
peace, & fulfillment before the
hero begins the return
THE HERO’S JOURNEY: INITIATION
In the Riddle family graveyard, Cedric asks
Harry to take his body back to his father.
(Campbell from Warren, et al.)
6. The Ultimate Boon
The achievement of the goal of the quest.
It is what the person went on the journey to get
All the previous steps serve to prepare and purify the person for this step
The boon is something transcendent like the elixir of life itself, or a plant
that supplies immortality, or the holy grail.
Gains important self-knowledge & skills
THE HERO’S JOURNEY: INITIATION
(Campbell from Warren, et al.)
1. Refusal of the Return
Having found bliss and
enlightenment in the other
world, the hero may not want
to return to the ordinary world
to bestow the boon onto his
fellow man
THE HERO’S JOURNEY: RETURN
(Warren, et al. from Campbell)
2. The Magic Flight
Sometimes the hero must
escape with the boon, if it is
something that the gods have
been jealously guarding.
It can be just as adventurous &
dangerous returning from the
journey as it was to go on it.
THE HERO’S JOURNEY: RETURN
(Warren, et al. from Campbell)
3. Rescue from Without
Oftentimes the hero must have powerful guides & rescuers to bring them
back to everyday life
Especially if wounded or weakened by the experience
Perhaps the person doesn't realize that it is time to return, that they can
return, or that others need their boon.
THE HERO’S JOURNEY: RETURN
Aragorn just before he is rescued by his horse
(Warren, et al. from Campbell)
4. Crossing the Return Threshold
The trick in returning is to:
retain the wisdom gained on the quest
to integrate that wisdom into a human life
maybe figure out how to share the wisdom with the rest of the
world.
This is usually extremely difficult
THE HERO’S JOURNEY: RETURN
(Warren, et al. from Campbell)
5. Master of the Two Worlds
Usually represented by a
transcendental hero, like Jesus
or Buddha.
For a human hero, it may mean
achieving a balance between the
material and spiritual.
The person has become
comfortable and competent in
both the inner and outer
worlds
THE HERO’S JOURNEY: RETURN
Hermione Granger, the muggle-born witch
(Warren, et al. from Campbell)
6. Freedom to Live
Mastery leads to freedom from
the fear of death, which in turn
is the freedom to live
This is sometimes referred to
as living in the moment
neither anticipating the future
nor regretting the past.
THE HERO’S JOURNEY: RETURN
(Warren, et al. from Campbell)
MYTHICAL ELEMENTS
FROM HARRY POTTER
AND THE GOBLET
OF FIRE
From Hercules to Harry Potter
NAMES Harry James Potter
Harry = Middle English form of
Henry < Germanic name
Heinrich < the words heim,
meaning "home," and ric,
meaning "power, ruler‖
Also from Harold = ―leader of
the army.‖
James = the same Hebrew
name as Jacob, meaning ―holds
the heel‖.
Potter is a very common
surname of English origin. It
traditionally refers to the
occupation of making pottery.
NAMES (CONT.)
The English adjective "bilious"
also applies to those who have
an irritable temper, as is Ron
from time to time.
Ronald Bilius Weasley
Ronald = the Scottish form of
the Scandinavian name Ragnvald
< Old Norse Ragnvaldr;
ragn, "advice", and valdr, "ruler―
Reginald < Germanic Raginwald,
meaning "the prince's
counsellor."
Bilius comes from "bile," as one
of the 4 humors discussed by
Ancient Greek philosophers.
Yellow bile = the element of fire
(the element of Gryffindor
house)
someone with an excess of it
was believed to be bad-
tempered.
harrypotter.wikia.com/ron_weasley
NAMES (CONT.)
Hermione Jean Granger
derived from "Hermes", who
was the god of wit, invention,
and quick thinking.
from Greek mythology, in which
she was a princess of Sparta
and daughter of Helen of Troy
Jean, the female variant of the
name John, meaning "God is
gracious.
Granger is another word for
farmer
derived from the Anglo-
Norman grainger and the
French grangier, both of which
come from Latin granica,
meaning "granary."
(Harrypotter.wikia.com/hermione_granger)
NAMES (CONT.)
Brian
Old Celtic meaning high or noble
Dumbledore
an old 18th century English word
for 'bumblebee.'
Albus Percival Wulfric Brian
Dumbledore
Albus:
an Italian word meaning
"sunrise.‖
Latin word for white.
Percival
legendary Arthurian knight
involved in the quest for the
Holy Grail
Wulfric
From Anglo-Saxon, Wulfric
translates literally as "wolf-
power", & is reminiscent of
another similar name, Beowulf,
which means "powerful wolf-
bear".
NAMES (CONT.)
Alastor Moody
Ancient Greek for "he who
does not forget", or avenger,
persecutor, tormenter
one who suffers from divine
vengeance
Similar to Alastair, which is the
Scottish form of Alexander
What about your name?
MAGIC
The Source of Magic
Magical power = an internal
source? Is inherent in the
individual?
Gandalf - ―There are many
powers in the world, for good
or for evil."
Aragorn: healer - symbolic of
spiritual gift The power comes from some
external source?
potions and spells and herbs
part of nature or the natural
world
a belief in the magical
properties of the earth
(Dickerson & O’Hara, p. 234)
MAGIC (CONT.) Used to Harm or Heal?
Father Christmas in The Lion, the
Witch, and the Wardrobe gives
Lucy a vial of magical ointment
that will heal any wound
Aragorn uses kingsfoil to try &
save Frodo
Something or someone that the magician is in service to?
call upon evil spirits to do their bidding
a genie in a bottle
have no choice
the One Ring - controls the ringwraiths
The magician is often deceived
become the slave of the demon?
The word Horcrux
may be derived from
the French dehors,
meaning "outside," and
crux, meaning
"essence.― (harrypotter wikia.com)
(Dickerson & O’Hara, p. 234)
MAGIC (CONT.) Uses of Magic in Harry Potter
internal power is used by the
good character (those who side
with Dumbledore)
Hagrid – ―Never made things
happen when you were scared
or angry?‖
external power
potions class and herbology
class
For good or evil
Madame Pomfrey vs. Wormtail cutting
off his own hand
Summoned power
Malfoy uses Serpensortia to conjure a
snake to attack Harry
house elves
dementors
(Dickerson & O’Hara, p. 239)
ACTIVITY
Potions Class
To train up your potion making
skills, we will practice making
green slime.
Ingredients:
½ school glue
½ laundry starch
Add glue to a bowl. Then gradually
add starch while stirring,
beginning with ¼ cup. Keep
working slime with your hands
until it reaches he desired
consistency.
MYTHICAL ELEMENTS
FROM MULAN
From Hercules to Harry Potter
WESTERN DRAGONS a symbol of evil.
seen as unwanted & something that a
hero must work to get rid of.
try to kill people by breathing out
fire.
great wings & sharp claws.
able to live in deserts or even in fire.
greedy, keeping hordes of gold &
other precious treasure.
represents the dark side of humanity,
including greed, lust, & violence
slaying a dragon represents the
confrontation & extinguishment of
those evil instincts.
(Owens, Smith & Brown, pp. 227 - 228)
WESTERN DRAGONS
Western Dragons
There are very few dragons in
medieval literature
Tolkien's Smaug brought
dragons as we know dragons
into modern fantasy literature
Midgardsormr, who was to
destroy the god Thor at
Ragnorok
Fafnir, who is killed by the
Norse hero Sigurd
Beowulf's dragon
(Dickerson and O’Hara, p. 124)
EASTERN DRAGONS
called Lung or Long in Chinese
value dragons for their magic & beauty
held with high respect
symbolizes heroism, beauty, luck, & power
live in some sort of damp place, more likely a lake or the ocean
used in ceremonies and parades
control the rain, rivers, lakes, & sea.
can ward off wandering evil spirits, protect the innocent, & bestow safety unto all
(Owens, Smith & Brown, pp. 227 - 228)
CHINESE DRAGONS
Tianlong,: Celestial Dragons -
pull the chariots of the gods &
guard their palaces.
Shenlong: Spiritual Dragons -
control the wind & the rain.
Fucanglong: the Dragons of
Hidden Treasures - underworld
dragons which guard buried
treasures. Volcanoes are said to
be created when they burst out
of the ground to report to
heaven.
Dilong: the Underground Dragons
- earth dragons who preside over
rivers and streams.
Yinglong, the Winged Dragons, are
the oldest of all eastern dragons &
the only kind with wings.
(Owens)
CHINESE DRAGONS (CONT.)
Huanglong: the Yellow Dragons,
once emerged from the River Luo
and presented the legendary
Emperor Fu Hsi with the elements
of writing. They are known for
their scholarly knowledge.
Lóng Wáng: the Dragon Kings -
rulers over each of the four seas;
they have the ability to shapeshift
into human form. They live in
crystal palaces guarded by shrimp
soldiers and crab generals.
(Owens)
Qiulong: the Horned Dragons - the mightiest
dragons.
Panlong: the Coiling Dragons - water dragons
who inhabit the lakes of the Orient.
ACTIVITY
Divinations Class: Chinese Fortune Sticks
1. Get 78 coffee stirrers or popsicle sticks and dip one end in red paint (about ½‖)
2. Once dry, number each stick 1 through 78 in both Chinese and Arabic numbers.
3. Ask a yes or no question and pull a stick.
4. Look up the answer to the question here.
ACTIVITY Divination Class – Period 2
I Ching: The Book of Changes
One of the oldest Chinese
texts
Themes: the balance of opposites,
the evolution of events as a
process, and acceptance of
change.
1. Get three coins.
2. Hold a yes or no question in your head.
3. Flip your coins and add up the total of your flips. Heads = 3 and Tails = 2.
4. Draw the hexagram that corresponds to the total of your coin flips and draw it.
6 = —
7 = —
8 = - -
9 = - -
5. Repeat 5 more times, placing the new results on top of your first, until the hexagram is complete.
6. Look up the hexagram meaning here.
MYTHICAL ELEMENTS
FROM THE FELLOWSHIP
OF THE RING
From Hercules to Harry Potter
BEOWULF IN THEODEN
long life as king (Geats vs. Rohan)
goes up against a monstrous
enemy (Grendel vs. the Lord of
the Nazgul)
enemy is defeated by a kinsperson
(Wiglaf vs. Eowyn)
mead hall (Heorot vs. Meduseld)
(Dickerson and O’Hara, p. 114)
BEOWULF IN OTHERS
Aragorn
rises from obscurity to become
king
endures the scorn of a better-
known warrior who is close to
the current ruler of his kingdom
does not show Beowulf's desire
for glory
does not die as a result of
battle
Boromir
appears to have superhuman
strength
shows pride in his battle
prowess
dies fighting orcs
seeks personal glory on the
battlefield
doesn't live a long life
is not ever king
(Dickerson and O’Hara, p. 117)
WHAT BEOWULF HAS CONTRIBUTED TO
THE CALDERON OF STORY
The synthesis of the
Germanic heroic spirit with
the Christian sense of
morality
The overarching sense of
moral purpose in the great
War that defines so much
of fantasy
the ability to choose
"rightly" in matters of
conduct
(Dickerson and O’Hara, p. 121)
ARTHURIAN LEGEND
King Arthur = Aragorn
Merlin = Gandalf
Avalon (Arthur’s
―resting place‖) =
outermost city of the
Undying Lands of
Valinor (resting place
of immortal beings) is
called Avalonne
(Dickerson and O’Hara, p. 126)
ACTIVITY
Divinations Class – Period 3:
Rune Casting
Writing used by the peoples of Northern Europe from the first century C.E.
Also a system of symbols used for magic & divination
each rune has a meaning
Runes also have magical & religious significance as well, transforming the simple process of writing into a magical act
Tolkien’s Dwarvish language is based on Norse Runes
Make a set of your own with Sculpy or air dry clay!
MYTHICAL ELEMENTS
FROM THE GOLDEN
COMPASS
From Hercules to Harry Potter
ANIMALS IN MYTHOLOGY
people have always lived in close contact with animals
developed myths & legends about them
give special meaning or extraordinary qualities to common animals
other creatures that have never existed
(Myth Encyclopedia)
ANIMALS IN MYTH (CONT.)
Animals may serve as stand-ins for humans or human characteristics (e.g., the Greek storyteller Aesop.)
animals perform heroic deeds or act as mediators between heaven and earth
can be helpful to humans or harmful—sometimes both
(Myth Encyclopedia)
ANIMALS IN MYTH (CONT.)
Transformations (i.e.,
people turn into
animals or animals
turn into people) take
place in stories from
around the world
about crossing the
boundaries that set
humans apart from the
rest of the world
trickster mischievous
figure appearing in
various forms
mediator go-
between
shaman person
thought to possess
spiritual and healing
powers
dualistic consisting of
two equal and
opposing forces
ANIMALS IN MYTH (CONT.)
Native American myth -
boundaries between
people & animals were
less sharply drawn (i.e.,
shape shifting)
Bears were especially
close to humans
The Tsimshian people of
the northwestern U.S. tell
about Asdiwal, a young
man who follows a white
bear up a mountain to the
sky.
Lyra with Iorek Byrnison, the Panserbjørne, or
―amored bear‖ wearing his sky-iron armor.
(Myth Encyclopedia)
ANIMALS IN MYTH (CONT.) Transformation = a sign
of power (Myth Encyclopedia)
Some shamans were thought to have supernatural abilities:
the power to communicate with animals
transform themselves into animals
Above: Harry speaks Parseltongue.
Below: Masters Moony, Wormtail,
Padfoot, and Prongs, all animagi*
(*Moony, a.k.a. Professor Remus Lupin -- a werewolf,-- is technically not an animagus.)
ANIMALS IN MYTH (CONT.)
Fäerie often highlights the close
links between people &
animals.
West Africans & Native
Americans believe that each
person has a magical or
spiritual connection to a
particular animal that can act
as a guardian, a source of
wisdom, or an inspiration.
Some Native American
religions include nagualism,
the idea that each person's
life is linked to an animal or
object called a nagual
If the nagual is hurt or killed,
the person suffers or dies.
(Myth Encyclopedia)
HIS DARK MATERIALS: THE GOLDEN COMPASS
- DAEMONS
All humans of Lyra’s world
have daemons
the ancient Greek notion of
Daimon, a helpful spirit )
Like human souls but
external and visible in the
form of animals
Can talk
Cannot go far from their
humans
Human and daemon are
considered one
―familiar‖
(hdm.wikia.com/wiki/daemons)
Lyra Balacqua’s daemon, Pantalaimon,
as an Ermine, a symbol of purity. Pan
can change his appearance because
the daemons of children are not
permanent until their child comes of
age.
DAEMONS (CONT.)
Lord Asriel and Stelmaria
snow leopard
aloof and highly intelligent
with piercing blue eyes,
like her human
Symbolism: understanding
one’s shadow side;
associated with the devil
(hdm.wikia.com/wiki/daemons)
DAEMONS (CONT.)
Marisa Coulter and
Ozymandias
Symbolizes cleverness &
curiosity in Chinese
astrology
Ozymandias is a Greek
name for the Egyptian
pharaoh Ramses II
Percy Bysshe Shelley
wrote a poem about
Ozymandias in the 1800’s
(hdm.wikia.com/wiki/daemon)
ACTIVITY
Divinations Class – Period 4
Make an Alethiometer
Simple
Very involved
Online
MYTHICAL ELEMENTS FROM
STAR WARS: THE PHANTOM MENACE
From Hercules to Harry Potter
THE STAR WARS SAGA & ARTHURIAN LEGEND
Merlin =
Qui-Gon Jinn
Obi Wan Kenobi
Yoda
Mentor to both Arthur and Uther
Pendragon, Arthur’s father
(Smith & Brown, p. 302)
MERLIN, THE IDEALIST PROPHET
Merlin prophecies that a man
will soon rise to bring order to
the chaos that engulfs the land
= Uther Pendragon
Qui-Gon Jinn believes that
Anakin Skywalker is the one
who will return balance to the
Force
Obi-Wan assumes the task of
training Anakin once Qui-Gon is slain
by the Sith apprentice Darth Maul.
(Smith & Brown, p. 302)
MERLIN, THE DISAPPOINTED MENTOR
Merlin chooses to help Uther
Pendragon, believing he is the
one to restore order to the
land.
Pendragon rises to power but
uses that power only to serve
his own selfish interests.
(Smith & Brown, p. 302)
Obi-Wan Kanobi when Anikin
Skywalker becomes a Sith lord and
turns to the dark side of the Force.
MERLIN AND A NEW HOPE
Merlin watches over and becomes tutor to a young Arthur, who grows up unaware of who his true father is.
In Arthur, Merlin sees ―a new hope‖ of fulfilling the original prophecy.
It is Luke Skywalker, son of Anakin, who returns balance to the Force as Qui-Gon Jinn prophesized.
Both take up the weapons of their fathers to fulfill their destinies.
(Smith & Brown, p. 303)
MERLIN, THE PESSIMIST
Merlin watches how Arthur
changes as he grows into
manhood as King of the
Britons.
His treatment of Arthur
becomes harsher.
Yoda is harsher in his treatment of Luke than Obi-Wan was.
Yoda forces Luke to confront his hatred of his father -- Darth Vader -- as opposed to Obi-Wan, who shields Luke from the truth.
(Smith & Brown, p. 303)
JEDI AND SAMURAI
Jedi were patterned after the
samurai warriors of Japan
the samurai were strictly a
warrior class
a shogun ruled over the daimyo,
his provincial lords
daimyo hired numerous samurai.
(Reihla; Smith & Brown, p. 301)
JEDI AND SAMURAI (CONT.)
Similarities in social structure between medieval Japan & the world of the Jedi
serve the greater good of their governing bodies
the preservation of order
preferred pacifist tactics often failed to achieve the desired results
Jedi prefer more peaceful means of conflict resolution than the samurai
Do not hesitate to proceed to ―aggressive negotiations‖ by using exceptional swordsmanship if needed
(Reihla)
JEDI AND SAMURAI: THE FORCE
Jedi possess a strong spiritual side –
The Force
A mystical energy field that wraps
around all living beings
Samurai had no specific religion by
which they defined themselves
In the late middle ages, however,
the majority were Zen Buddhists
Acknowledge a mystical life
energy, the chi.
Drew on it for strength and used
it for a variety of purposes,
including healing.
Meditation by Kuro Samarai
(Reihla)
JEDI AND SAMURAI: WEAPONS
Weaponry and extensive training
Daisho, a pair of curved swords
made by master craftsmen
wakizashi
katana
In 1587, shogun Hideyoshi
decreed that only samurai
would be allowed to carry the
daisho
(Reihla)
STAR WARS: A MODERN MYTH WITH
ANCIENT AND POP CULTURE ORIGINS
An American take on:
King Arthur
Previous science fiction books & films
James Bond
Joseph Campbell
The Tales of Power by Carlos Castaneda
Tolkien
samurai / wuxia epics
Fäerie (myth, heroic legend, & fairy tale)
―dressed in the space-opera trappings of Buck Rogers and Flash Gordon‖
―festooned with a variety of nostalgic Hollywood influences — serial-adventure swashbuckling, WWII movie dogfights, movie-Nazi villains, Western saloon shootouts.‖
(Greydanus, Dirks)
STAR WARS CONNECTIONS
History Religion Literature Fäerie Archetypes
Samurai Moses Wizard of Oz Arthurian
Legend/Excalibur
Good/Evil
Dido Cain Harry Potter The Iliad/Achilles &
Agamemnon/Hector
Hero/Villain
Wild West Sins of the father Hamlet The Odyssey/Aeneas Mentor
Dictators & Tyrants Jesuits The Lord of the Rings Hercules Damsel
Roman Empire Theism Robin Hood Zeus & Cronus Mercenary Pirate
Bread & Circuses Chi The Three
Musketeers
Chiron Outcast
Julius Caesar Spiritual
Enlightenment
Faust Earth Mother Fool
Napoleon Jonah Paradise Lost Apollo & Artemis Child-like Innocent
George
Washington
Eve & the Serpent Jason & the Argonauts Parasite
George W. Bush Dragons Man/Machine
Third Reich Nemeses
(Star Wars: The Legacy Revealed, 2007)
STAR WARS CONNECTIONS
The Connections to history, literature, Fäerie, religion, and pop culture
are endless and ongoing.
What connections will you add to the saga? The Cauldron?
Safe travels on your own Hero’s Journey.
May the Force be with you!
References
Bierlein, J. F. (1994). Parallel myths. New York: Ballantine Books.
Campbell, J. (2008). The hero with a thousand faces. Novato, Ca.: New World Library.
Bollingen Series XVII, 3rd ed.
Davis, Bryan M. (1997). The Archetypal Hero in Literature, Religion, Movies, and Popular
Culture. Retrieved 7/29/10 from http://www.tatsbox.com/hero
Davis, K. C. (2005). Don’t know much about world myths. New York: Harper
Collins.
Dickerson, M. & O’Hara, D. (2006). From Homer to Harry Potter: A handbook on myth
and fantasy. Grand Rapids, MN: Brazos.
Dirk, T. (2010). Star Wars, Episode IV: A New Hope (1977). Retrieved on 8/13/10
from http://www.filmsite.org/starw.html.
References (cont.)
Greydanus, S. D. (2010). Why Star Wars still matters. Retrieved 8/12/10 from
www.decentfilms.com/articles/starwars.html.
harrypotter.wikia.com
hdm.wikia.com
Myth encyclopedia: Myths and legends of the world. Animals in mythology. Retrieved
on 8/12/10 from www.mythencyclopedia.com/Am-Ar/Animals-in-
Mythology.html. Advameg.
Neal, C. (2007). Wizards, wardrobes and wookies: Navigating good and evil in Harry
Potter, Narnia and Star Wars. Downers Grove, IL: InterVarsity Press.
REFERENCES (CONT.)
Owens, K. (2009) Draconika Dragons. Retrieved 8/8/10 from www.
Draconika.com/index.
Reihla (2004). The way of the Jedi: A comparison of the Jedi order to the
Japanese Samurai. Retrieved on 8/15/10 from
www.sagajournal.com/rwayofjedi.html.
Smith, E.L., & Brown, N. R. (2007). The complete idiot’s guide to world
mythology: Timeless tales and legends from every corner of the globe.
New York: Alpha.
Star Wars: The Legacy Revealed. Dir. Kevin Burns. 2007. The History Channel.
Videocassette
Tolkien, J. R. R. (1989). ―On fairy-story.‖ Tree and leaf. Boston: Houghton
Mifflin, p. 9-73.
Warren, L., et al. (2000). The hero’s journey. Maricopa Center for Learning
and Instruction: Maricopa Community Colleges. Retrieved 7/29/10
fromhttp://www.mcli.dist.maricopa.edu/smc/journey/main.html.
Original Artwork
!!! Myth Takes. 2008. !!! Warp, Web. 13 Aug. 2010. <http://pitchfork.com/
reviews/albums/9956-myth-takes/>. (Cover Artist unknown)
Fairies, Goblins and Dwarfs by Howard David Johnson, 2007
Game Wallpapers. com.The Golden Compass. 2007. Wallpapers-s.oorg. Shiny
Entertainment. Web. 13 Aug. 2010. </http://wallpaper-s.org/
18__The_Golden_Compass,_2007.htm>.
The Legend of Susanuo by Howard David Johnson
The Lightning Thief (book jacket) by John Rocco, 2008.
Meditation by Kuro Samarai. http://artzone.daz3d.com/index.php?/gallery/user/vi/&mid=
134537&aid=32859
Harry Potter – The Mirror of Erised, Mary GrandPre
Time Saving Truth from Falsehood and Envy by François Lemoyne, 1737
Treebeard and the Hobbits by Per Sjogren, 2003
Every effort was made to provide information for every image used in this presentation.
Photos from Movies:
Beowulf. Dir. Robert Zemeckis. 2007, Paramount Pictures. Warner Home Video, 2008.
DVD.
The Golden Compass. Dir. Chris Weitz. 2007. New Line Cinema.
Harry Potter and the Chamber of Secrets. Dir. Christopher Columbus. 2002. Warner
Bros. , 2003. DVD.
Harry Potter and the Deathly Hallows. Dir. David Yates. 2010. Warner
Bros.
Harry Potter and the Goblet of Fire. Dir. Mike Newell. 2005. Warner
Bros. , 2006. DVD.
Harry Potter and the Half-Blood Prince. Dir. David Yates. 2009. Warner
Bros. , 2009. DVD.
Harry Potter and the Order of the Phoenix. Dir. David Yates. 2007. Warner
Bros. , 2007. DVD.
Harry Potter and the Prisoner of Azkaban. Dir. Alfonso Cuaron 2004. Warner
Bros. , 2004 DVD.
Harry Potter and the Sorcerer's Stone. Dir. Christopher Columbus. 2001. Warner
Bros. , 2002. DVD.
Hero. Dir. Yimou Zhang. 2002. Miramax, 2004. DVD.
PHOTOS FROM MOVIES (CONT.)
The Last Samurai. Dir. Edward Zwick. 2003 Warner Bros. 2004, DVD.
Lord of the Rings: The Fellowship of the Ring. Dir. Peter Jackson. 2001. New Line Cinema.
Mulan. Dirs. Tony Bancroft and Barry Cook. 1998. Buena Vista.
Star Wars Episode II: The Attack of the Clones. Dir. George Lucas. 2002 Lucasfilms.
Star Wars Episode V: The Empire Strikes Back. Dir. Irving Kershner. 1980. Lucasfilms.
Star Wars Episode IV: A New Hope. Dir. George Lucas. 1977. Lucasfilms.
Star Wars Episode I: The Phantom Menace. Dir. George Lucas. 1999. Lucasfilms.
Star Wars Episode VI: Return of the Jedi. Dir. Richard Marquand. 1983. Lucasfilms.
Star Wars Episode III: Revenge of the Sith. Dir. George Lucas. 2005. Lucasfilms.
All images were located using Google images search. Credit was provided when available.
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