Post 1Nancy Salinas HEROS JOURNEY DISCUSSIONCOLLAPSETop o.docx

Post 1
Nancy Salinas
HERO'S JOURNEY DISCUSSION
COLLAPSE
Top of Form
Since heroes derive from their civilizations and exemplify that
society’s value systems, what qualities represent a hero from
your culture?
A cultural hero faces and overcomes struggles. Good heroes use
the power of transformation not only to change themselves for
the better, but also to transform the world. In the classic hero
journey, the newly transformed hero eventually transforms
society in significant and positive ways.
Sonia Sotomayor is known for being the first Hispanic justice
nominee on the United States Supreme Court. She is recognized
as a somewhat controversial and outspoken candidate whose
words are sometimes misinterpreted yet she is distinguished for
her many years of judicial service. In 2009, she became the
Court’s 111th Justice, the first Hispanic Justice and third
woman to serve in the US Supreme Court. Sotomayor
mentioned, “I do believe that every person has an equal
opportunity to be a good and wise judge, regardless of their
background or life experiences.”
She has always been true to her word and has defended what she
thinks is right. Her dedication, self-sufficiency, and discipline
led her to live the prosperous life she had. Although Sotomayor
struggled through poverty and had an alcoholic dad, she did not
let that affect her dedication to learn. She faced a great
challenge since Spanish was her first language. Her writing
skills and English was poor, but with her dedication she would
learn ten vocabulary words daily and read any chance she
could. Sotomayor’s dedication helped her reach her dreams.
Humility is another great trademark of hers.
Bottom of Form

Post 2
Ann Kramer
discussion 2
COLLAPSE
Top of Form
Heroes, inspiring and admirable men, often exemplify and
create the culture they want for their society. When creating
their society’s cultures, a hero incorporates the aspects of which
his society values most. These societal values are reflected in
the hero’s motives and actions. Heroic motives and actions can
be seen by my club swim coach. Coach Tyler has cultivated a
culture of hard work and discipline for our small town swim
team. As a team, we value success and prosperity. When faced
with adversity, he led our team through the obstacles; ultimately
teaching his swimmers how to work hard and achieve success.
Without his heroic dedication to triumph, many swimmers from
my team would be without a fatherly figure and a family of
teammates to support them through the greater obstacles of life.
Coach Tyler’s heroic lessons of hard work has prepared my
family of teammates for success in the pool and in life for many
years to come. Inspiring and preparing the youth are a few
outstanding qualities of heroes in my culture.
Bottom of Form
THE HERO’S
JOURNEY
Cultural Values & the Struggle Against Evil
JULIE HARRIS

Chapter 1:
T he Creation of the Hero
While the cultures of societies vary, there is a common
strand embedded within the infrastructure of each
civilization: the hero and his story. Societies throughout
history and from all over the globe have lifted up
exemplary individuals from folklore and legend as the
embodiments of the qualities valued by their cultures.
Heroes vary with the qualities of their cultures. Likewise,
every hero undergoes a quest from which he achieves a
place in the literary pantheon of his homeland. While
there is no outline used to definitively chronicle the
journey from mere citizen to iconic being, the fact
remains that the hero is the personification of his
culture’s morality and value system.
from The Odyssey by Homer
Odysseus and his crew fight to survive a dangerous encounter
with
Polyphemus the Cyclops as they travel across the Aegean Sea
on their
return journey to the island of Ithaca.
Cultural Heroes
"True heroism is remarkably sober, very undramatic. It is not
the
urge to surpass all others at whatever cost, but the urge to serve
others at whatever cost.”
— Arthur Ashe

What is a hero? While this inquiry may seem simplistic, it is
much
more complex than first impressions may indicate. In order to
begin
to answer this question, one must first evaluate the concepts of
good
vs. evil, self vs. greater good, and morality vs. immorality.
Even after
considering these concepts, the definition of a hero can still be
elu-
sive.
Common perceptions of a hero include an individual who has
the
courage of conviction to perform feats that benefit the general
populace, acts as a soldier of virtue, and has an altruistic spirit
that
urges him or her to act against evil and defend the greater good
at
all costs, even sacrificing his own well-being or life. This
archetype
of heroism allows an individual to serve as the primary
example of
what society deems as valuable and moral. Thus, the hero’s
ability
to maintain his position in a society directly correlates to his
ability
to uphold the standards set forth to him by that society. The
manner
in which individuals complete their tasks and succeed in their
jour-
neys largely influence their hero status, so one cannot forget to
evalu-
ate these courageous souls based on the cultures from which
they
come. For example, Batman is really Bruce Wayne, a billionaire

play-
boy and philanthropist. According to the criteria of heroic
values out-
lined in this section, Batman can be defined as a hero. He saves
the
weak, rights wrongs and prevents corruption/crime all while
fight-
ing his inner demons which stem from the murders of his
parents.
By Western society’s standards, he is the epitome of what a
hero
should be: successful, brave, cunning and strong. However,
would the
PRE-READING DISCUSSION QUESTIONS
❖ What are the qualities that define a hero?
❖ Since heroes derive from their civilizations and
exemplify that society’s value systems, what qualities
would a hero from your culture represent?
❖ What must an individual do to be considered a hero?
Are heroes born, or are they made as a result of
experiences?
2
S E C T I O N 1
The Hero and the Journey
hero label be applied to him in other cultures? What about in
this society a hundred years ago?

An analysis of the hero ultimately prompts one to wonder
about the catalyst for his actions. In other words, what experi-
ences create a need for a hero to respond (become the hero)?
According to Joseph Campbell in his book The Hero with a
Thousand Faces,
Once a hero experiences the call to action, the adventure can
begin. So, how is it that heroes are capable of achieving what
others cannot? Is it that they are cloaked with invincibility by
sympathetic gods or endowed with never ending good luck?
The answer is probably more simple than it should be: They
are only mortals, ones that try their best to accomplish feats
while fighting against external and internal forces. The only
difference between them and other people is their response to
the call to be heroic.
The journey from citizen to hero is not one that has a defined
blueprint; however, there are several key factors that are
inherent to most heroes. Each hero begins his journey with
the call to action. This is the reason that he decides to leave
the safety of his
home to search the
globe for an object or
cause which is
valuable to him.
While the hero is
expected to complete
his nostros (return
journey) and return
to his home to live
out his days in peace
or bask in the glory
of his feats, there is
the possibility that
the task to be under-

taken will bring
about the death of
the hero. This is an
acceptable risk to the hero. After all, the hero views his poten-
tial death as the greatest testament to his dedication to his
cause.
Along with a hero’s self-sacrificing nature is the hero’s inborn
need or responsibility to combat and defeat evil. Encounter-
ing wickedness, the hero will utilize every available option he
has and exhaust the limits of his own strength and intelli-
gence to ensure that good prevails. This means that he has to
dig deep, be brave and persevere. When faced with circum-
stances that dwarf the abilities of mortal man, heroes often
call upon the favor of outside forces. They often accomplish
“The usual hero adventure begins with someone from whom
something has been taken, or who feels there is something
lacking in
the normal experience available or permitted to the members of
society. The person then takes off on a series of adventures
beyond
the ordinary, either to recover what has been lost or to discover
some
life-giving elixir. It's usually a cycle, a coming and a
returning.”
3
this by relying on faith in higher powers. Demonstrating
their belief that those entities will aid them is an essential
part of what makes heroes heroic. It is the embodiment of
the ideal that heroes do not always believe themselves to be
all-powerful and capable of single-handedly righting every
wrong; instead, they must be the ones who show humility and

knowledge of self in order to reach out for help when it is
needed. In essence, they must be able to overcome them-
selves before they can overcome external forces.
At this point, a hero seems to be both indestructible and in-
corruptible. However, part of being labeled a hero is how an
individual responds when he makes a mistake. Does the pro-
tagonist shut down or give up the quest? Does he blame oth-
ers or make excuses for his shortcomings? No. This would
not be heroic. Instead, archetypical heroes accept their own
imperfections and use negative experiences as opportunities
to learn and grow. They then utilize their acquired
knowledge in future encounters on their quests. For example,
a individual that acts out of pride may suffer setbacks in his
quest until he learns that he must rely on others to find suc-
cess. Once he learns a lesson, he often triumphs in his task
and earns the label of “hero” due to his newfound under-
standing.
Whether it be saving the world from dark forces, retrieving
items of value, or fighting to uphold the cultural values, all
heroes are tested throughout each stage of their journeys
and, hopefully, learn a few lessons along the way.
Note for Reader
Before turning the page, brainstorm a list of heroes with
which you are familiar. Think about their backstories.
Question Yourself:
- What made them who they are?
- Why are they considered heroes?
- What qualities of your society do they represent?
4
5

Refusal of the Call:
point at which hero
doubts whether or not to
go on the journey
The Call to Adventure:
hero’s goal is made clear
Common Day:
where hero is from; what
everyday life would be like
in that time period
Meeting with the
Mentor:
hero is introduced to a
person who prepares
him to face future
challenges
Crossing the First
Threshold:
hero commits to the
quest and begins the
journey
Tests, Allies & Enemies:
hero is introduced to and
learns the rules of the

Unknown World
Approaching the Inmost
Cave:
hero encounters a danger-
ous place which hinders
the completion of his
quest
The Supreme Ordeal:
hero is confronted with
the most difficult task or
opponent to overcome;
could end in success or
death of hero
Reward: Seizing the
Prize
hero reaps a reward as a
result of his triumph; can
be treasure, experience,
knowledge, etc.
The Road Back:
hero must deal with
fallout from overcoming
negative forces associated
with the Supreme Ordeal
Threshold Crossing or
“Resurrection”:

hero is transformed by
his adventure(s) and re-
turns to his ordinary life;
uses new insights to guide
him in his new life
Return with Elixir-
“Freedom to Live”:
any product of value
that was obtained as a
result of the hero’s quest
If something of negative
value/influence attaches
itself to the reward, the
hero may have to repeat
his journey.
The Hero’s Journey
Text in Action
6
The Matrix: Joseph Campbell’s Monomyth
This film clip explains Campbell’s stages of the hero’s journey
in correlation to the plot of The Matrix.
Please view the clip at this time.

Objectives for Discussion
At the end of the next segment, you should be able
to do the following:
--Critically discuss and evaluate the
hero’s journey chart.
--Connect the model of the hero’s
journey to examples from your own
viewing or reading experiences.
--Construct higher order questions to
explore/discuss topics connected to
the concepts of the hero and his
journey.
Use these questions to begin a
small group seminar.
• Examine and evaluate the validity of Campbell’s three
phases of the journey: departure, fulfillment & return.
Are all three parts necessary? Why or why not?
• If you were to create your own graph of the hero’s
journey, what would it look like? How many stages would
it have? What would the different parts of the journey
be? Discuss. Feel free to doodle your ideas on the
sketchpad as you talk within your group.
• How does the hero’s journey model relate to works of
literature/film that you have previously viewed? How
does another work fit into or differ from Campbell’s
model?
• How would you use the Campbell graph to explain the
growth of an individual from common citizen to hero?

Use examples from the graph in your discussion.
• Do you agree or disagree with any of the parts of
Campbell’s model of the hero’s journey? Explain.
7
Small Group Seminar: Discussion 1
Frame Questions for Advanced Discussions
Fill in the sentence frames below with your own information to
create questions that will enrich your group’s discussion. Be
creative and productive.
Individual Response
EVALUATION: Email your responses to these prompts to
your instructor. Your header should be in MLA format. Make
sure that you label your answers with the letter of the prompt.
• A. Was Campbell’s graph convincing as the model of the
hero’s journey? Explain your response.
• B. Apply what you know about hero tales to this graph.
Which components of the model are universally true vs. con-
dition based on the character?
• C. Review the graph. What is your overall opinion of it?
What could be added or taken away to improve it?
• D. How well can you make conclusions about heroes based
on and supported by the graph provided?
INFERENCE

• Hypothesize what will happen if___.
• Apply what you know about the qualities of a hero to the
graph. How do they enable a hero to be successful on his
journey?
• Based on your observations of the graph, what can you con-
clude about___?
• What if___?
COMPARISON
• How is ___like___?
• How are___ and ___different?
• Compare the hero before and after the adventure.
• Distinguish between ___and___.
• Compare___with___.
ANALYSIS
• Use the graph/video to determine____.
• What is another possible___?
• If you changed part of the sequence___?
• What additional information is needed to___?
• What does ___symbolize?
• Analyze the ___in___.
• What words does the author use to paint an image of ___
• How were ___used to ___?
• What is the purpose of___?
• What is the pattern of___? How could it be changed?
• Give an example of ___from another text. Explain it.
• Which ___does not belong in the ___?
• What is the relationship between___and___?
• Break the graph down into its most primary parts. What is
8

Click here to provide
your feedback.
9
C H A P T E R R E V I E W
Conclusion
Quiz:
Complete the following assessment to test how well
you have mastered the concepts presented in this sec-
tion.
Check Answer
Question 1 of 4
All of the following are qualities of a hero except:
A. brave and cunning
B. responsibility to defeat evil
C. selfless
D. has had an experience that forces him
to become a hero
Chapter 2
Within their lifetimes, many individuals will be placed in

a situation that provides a choice: to act or to remain
stationary. While the circumstances are probably not
going to alter the planet’s existence, there are times when
mere mortals act out of courage to uphold standards of
morality, right wrongs or take up for the weak. These are
times when the inner hero emerges, but what causes
people to shed their civilian overcoats and don their
proverbial capes? Though the rewards may be great,
heroes are rarely motivated to act in the hopes of an
extrinsic reward. Instead, their actions are the products
of their own convictions and beliefs. They are driven to
act with the intent of positive outcomes as a result of
their society’s values and moral codes.
IDEALS THAT MOTIVATE
THE HERO
“We're our own dragons as well as our own heroes, and we
have to rescue ourselves from ourselves.”
-Tom
Robbins
http://www.merriam-webster.com/dictionary/extrinsic
Chapter 1 primarily focused on the definition or a hero, his ori-
gin and journey. However, a deeper look at the inner workings
of the hero’s psyche is necessary fully comprehend what moti-
vates and inspires him to act. After all, there would be no drive
to go on a journey for truth, justice, or gain was it not for the
hero’s own system of morality goading him to do so.
Engrained in each culture is a set of values which govern what
is
morally acceptable within that society. While the terms value
and morality may seem like similar, slight variances in their

con-
notations denote subtle differences that create a vital contrast
be-
tween the two. Values are principles or standards of behavior
that are subjective and primarily concern what an individual
believes is good or wicked. A person’s values have no definitive
boundaries and are subject to change as that individual matures
or gains life experiences which may ultimately force one to
change previous premises concerning appropriate courses of ac-
tion. Additionally, values are subjective, meaning that they vary
from person to person. A value can be as simple as the idea that
the preservation of human life is the most important ideal.
They
may be universal within a sect (group) or culture, but it is
unrea-
sonable to assume that they are the same for all members of the
global society.
Morality is based upon the values of an individual; however, it
goes beyond identifying and labeling actions as good or wicked,
11
❖ What are the values inherent within our society
[school, local community, nation]?
❖ How does your culture define morality?
❖ What individuals within our culture best represent the
values of your society?
❖ Can multiple levels of morality exist in the same
culture? Explain.

S E C T I O N 1
Eve’s Apple
Values & Morality
http://www.oxforddictionaries.com/us/definition/american_engli
sh/morality
sh/morality
focusing on the way an individual chooses to behave. In
short, morality is based on actions, not a theory of behavior.
For example, it is one thing to believe that someone should
not tell a lie; however, it is up to an individual’s moral code
not to do so.
Cultures throughout history differ in their societal values
and codes of morality. What actions may seem perfectly ac-
ceptable in some cultures may be frowned upon or even ille-
gal in others. Much like values, the concept of morality is
open to interpretation and varies across cultures, regions, and
countries.
Introducing the hero’s journey means identifying the
hero himself as the paragon or protector of a culture’s values
and morality system, pinpointing the beliefs and opinions of
his society and demonstrating that culture’s relative tolerance
to situations that diverge from its norms. Take for example
the Superman saga. The hero is bound by his own system of
morality to defend the people of Earth from maniacal mad-
men, natural disasters and not-so-friendly extraterrestrials.
His adherence to protect and defend the planet’s citizenry
stems from an internal system of right and wrong. He is self-
less acts and relatively endless supply of strength are sued to
better the world. However, many of his attributes strongly
align with the values of Western culture. He is strong, intelli-

gent, resourceful, and compassionate. How does he compare
with other iconic heroes within our culture? What does this
say about our society? What do we value?
H O W M O R A L A R E YO U ?
The quiz below will rate your moral foundations--
the five different bases of the moral decisions you
make in your daily life--on a scale of 1-5:
•harm and care
•fairness and reciprocity
•loyalty
•authority and respect
•purity and sanctity
http://personality-testing.info/tests/MFQ.php
Complete the quiz and review the results. Be
prepared to answer a few questions.
12
THE RESULTS
THINK
1. What is your highest rated foundation (harm and care,
fairness and reciprocity, loyalty, authority and respect,
or purity and sanctity)?
2. Which is your lowest?

3. How might these foundations play out in your daily
life?
4. Complete the following sentence: If I saw a person
suffering and had the power to save them, I would
_____, because ____. How does your response reflect
your moral foundations?
PAIR
5. With a partner, compare your responses to the
statement above.
6. How are they alike? Different?
13
SHARE
7. If you were a hero on a quest, how might your moral
foundations guide the decisions you made on your
journey?
CONCLUSION
While the values that govern societies vary, the constant
remains: Cultural heroes embody the very best ideals of the
society from which they come. Since heroes are theoretically
the purest example of societal virtues, who they are speaks
volumes about where they come from and what is valued.
Does this mean that societies should be careful when
popularizing their heroes? Perhaps. After all, they do
represent their core values and project any societal defects
for others to see, in effect, creating the need for all heroes to
be super.
Chapter 3

Since the creation of the hero, there has been an anti-
hero. A hero could not be heroic without something or
one to overcome. Hence, an outside force is needed to
create conflict and further evidence the intellect, virtue or
strength of the hero. Without an anti-hero or monster,
tales would be much less interesting and the hero much
less great.
OVERCOMING CONFLICT:
SOCIETAL MONSTERS
“Heroes need monsters to establish their heroic
credentials. You need something scary to
overcome.”
-Margaret Atwood
For as long as there have been heroes, there have been forces to
act in direct conflict with them. The struggles of heroes against
all things wicked make the heroes things of legend and the van-
quished evildoers examples to illustrate to future generations
why individuals should remain within the confines of the law
or
cultural norms. Various names have been given to those entities
that step outside of the established system: monster, villain, an-
tagonist, or bad guy. However, are these names truly represent-
ing what these characters are, or do they indicate what estab-
lished cultures fear: those that do not fit into societal molds?
To answer this question, the etymology of word monster must
be examined. In earlier years, the term meant some kind of
creature that was enormous, ugly, and scary. Throughout time,
this definition has not varied; rather, it has been added to by
indicating that a monster must also be something/one that is
uncontrollable. This additional information creates a new

conno-
tation of the word that carries with it an interesting point of
dis-
cussion: Are monsters truly evil, or are they just markably
differ-
ent from people in the society from which they come? The an-
swer to such a question is not nearly as easy to answer as it may
seem. In order to answer this question, one must ask if the
oppo-
site of good is always evil, if the alternative to citizen is non-
Essential Questions
• What is a monster?
• What is the relationship between
countercultural actions and the creation of
societal monsters?
• Why do monsters cause a threat to social
constructs?
15
S E C T I O N 1
Monsters & the Hero
http://www.merriam-webster.com/dictionary/etymology
conformist, and if all things that are differ from societal
normality should be seen as either offensive or to be feared.
What is so terrifying of creatures that are different?
If the purpose of the hero is to uphold the principles and

values of a culture, then the opposite should be true of the
anti-hero or monster figure. This individual should, in theory,
represent the collective fears and deficiencies within a society,
making the monster the living embodiment of that culture’s
shortcomings. Could this be the reason that members of
particular societies find their monsters so terrifying?
Admitting this
would mean
that monsters
are the mirrors
which reflect
a culture’s
shortcomings,
and assuming
this theory, the
society would
detest, push
away, and
actively seek to
destroy any evidence of its own lack of virtue or structural
strength so that it is not exposed for ridicule or thought of as
weak.
Consider Victor Frankenstein’s monster. In the classic novel
Frankenstein by Mary Wollstonecraft Shelley, a scientist con-
structs a creature from bodies of the deceased then reani-
mates it only to discover that he is appalled by what he has
brought to life. His abhorrence of his creation leads him to
reject and shun it. As the novel continues, the scientist tries
desperately to put distance between himself and the creation,
an act which only infuriates the lonely creature who seeks the
love and acceptance of his creator. The creature turns violent
as a result of his creator’s neglect and murders several people
close to Frankenstein. While the novel primarily concerns it-
self with the external struggle between the creature and his
creator, it also serves as a commentary on the society and

time period in which it occurred. The conflict between
scientist and creation call into question mankind’s tendency
to act before thinking about potential consequences and over-
step the boundaries of morality and the laws of nature. Who
was really to blame for the tragedies that occurred in the
novel? A creature, who murdered but was never nurtured or
taught human decency, or a scientist, who fancied himself a
god and then failed to directly deal with negative fall out
from his botched experiment? It is easy to place the blame on
the creature which personified the very definition of the
word monster and acted far outside of the scope of what is
morally acceptable. However, does that mean that
Frankenstein is blameless for the tragedies? Can he truly be
considered a heroic figure for battling an evil of his own
creation? And, if the creature is the embodiment of the short-
comings and vanity of that time period, does that mean that
readers were actively rooting against their own social con-
structs, way of living and morality?
16
http://www.merriam-webster.com/medical/reanimate
FINAL THOUGHTS
What does this society value? A hero in this culture would be
the living, breathing embodiment of those ideals. The oppo-
site would be true of a monster born from the collective fear,
loathing, and vulnerability that it has. So, what would a mon-
ster from this society look like?
ACTIVITY

Using this widget, quickly sketch an image that represents
what you think your society fears. Be prepared to share your
artwork with others.
Questions for Discussion:
1. What do you think your monster says about the fears in so-
ciety?
2. What does your monster say about your own fears?
3. What kind of hero might it take to defeat your monster?
Extension Activity
In his essay “Monsters and the Moral Imagination,” author
Stephen T. Asma created an overview of the causes of
society’s fascination with monsters and provide commentary
on what the increase in this genre of film/literature says
about this culture. Click LINK and read the primary source.
17
SKETCHPAD
http://chronicle.com/article/Monstersthe-Moral/48886/
PART I: When you are finished reading, discuss the
following questions:
• What is the purpose of a monster?
• How could analyzing monsters teach individuals about
their own value systems?
• How do monsters increase the audience’s self perception

(vision of him/herself)?
• In what ways can monsters empower the hero of the film
or literary work?
• How can monsters be used to empower viewers?
PART II:
Think of both a hero and a monster or villain from either
film or literature. Create a Venn diagram that compares and
contrasts the two characters.
Answer:
• Are the characters more alike or different? Why? Explain.
• Infer: What does your selected hero value? the Monster?
• Evaluate: What is the biggest difference between the two
characters?
• How does the setting of the work influence who is consid-
ered a hero vs. a monster/villain?
Venn Diagram
Widget
18
Summative Assessment:
This activity should be completed individually.
Reflect on the Venn diagram that was created and the
discussion that followed.
TASK

Write a paragraph that explains how both the hero and
the monster/villain represent the values of the culture
from which they come. In your response include your
ideas to the question: If the time period was changed
(moved back or forward in time), would the hero still
be the hero and the monster the villain? Why or why
not? Discuss.
19
Chapter 4
COMMON CORE
STANDARDS
Common Core Standards
The following standards are utilized in this iBook:
a. SL.9-10.1. Initiate and participate effectively in a range of
col-
laborative discussions (one-on-one, in groups, and teacher-led)
with
diverse partners on grades 9–10 topics, texts, and issues,
building on
others’ ideas and expressing their own clearly and persuasively.
b. RH.9-10.1. Cite specific textual evidence to support
analysis of
primary and secondary sources, attending to such features as the
date and origin of the information.
c. RH.9-10.2. Determine the central ideas or information of
a
primary or secondary source; provide an accurate summary of
how
key events or ideas develop over the course of the text.

d. RL.9-10.2. Determine a theme or central idea of a text
and
analyze in detail its development over the course of the text,
includ-
ing how it emerges and is shaped and refined by specific
details; pro-
vide an objective summary of the text.
e. RL.9-10.6. Analyze a particular point of view or cultural
expe-
rience reflected in a work of literature from outside the United
States, drawing on a wide reading of world literature.
f. RL.9-10.7. Analyze the representation of a subject or a
key
scene in two different artistic mediums, including what is
empha-
sized or absent in each treatment.
g. W.9-10.3. Write narratives to develop real or imagined
experi-
ences or events using effective technique, well-chosen details,
and
well-structured event sequences.
h. W.9-10.6. Use technology, including the Internet, to
produce,
publish, and update individual or shared writing products,
taking ad-
vantage of technology’s capacity to link to other information
and to
display information flexibly and dynamically.
ALTRUISTIC
[adjective] Unselfish concern for the welfare of others;
selflessness
Synonyms: selfless, unselfish, benevolent,

charitable, philanthropic
Related Glossary Terms
Index
Chapter 1 - The Hero & the Journey
Drag related terms here
Find Term
ARCHETYPE
[noun] a personality type that is generally thought to be the
greatest or purest
example; an overly generic version of a personality
Synonyms: epitome, model, standard, prime example
Index
Find Term
THE HERO’S JOURNEY

Joseph Campbell, an American mythological researcher, wrote
a famous book entitled The
Hero with a Thousand Faces. In his lifelong research Campbell
discovered many common patterns
running through hero myths and stories from around the world.
Years of research lead
Campbell to discover several basic stages that almost every
hero-quest goes through (no matter
what culture the myth is a part of). He calls this common
structure “the monomyth.”
George Lucas, the creator of Star Wars, claims that Campbell’s
monomyth was the inspiration
for his groundbreaking films. Lucas also believes that Star Wars
is such a popular saga because it
taps into a timeless story-structure which has existed for
thousands of years.
Many followers of Campbell have defined the stages of his
monomyth in various ways,
sometimes supplying different names for certain stages. For this
reason there are many different
versions of the Hero’s Journey that retain the same basic
elements.

THE ORDINARY WORLD
Heroes exist in a world is considered ordinary or uneventful by
those who live there. Often
the heroes are considered odd by those in the ordinary world
and possess some ability or
characteristic that makes them feel out-of-place.
THE CALL TO ADVENTURE
For heroes to begin their journeys, they must be called away
from the ordinary world.
Fantastic quests don’t happen in everyday life. Heroes must be
removed from their typical
environment. Most heroes show a reluctance to leave their
home, their friends, and their life to
journey on a quest. But in the end they accept their destiny.
Usually there is a discovery, some event, or some danger that
starts them on the heroic path.

Heroes find a mystic object or discover their world is in danger.
In some cases, heroes happen
upon their quest by accident. Campbell puts it like this, “A
blunder—the merest chance—reveals
an unsuspected world.”
The new world the hero is forced into is much different than
the old one. Campbell describes
this new world as a “fateful region of both treasure and
danger…a distant land, a forest, a
kingdom underground, beneath the waves, or above the sky, a
secret island, lofty mountaintop,
or profound dream state…a place of strangely fluid and
polymorphous beings, unimaginable
torments, superhuman deeds, and impossible delight”. This
description may seem pretty vague,
but think of all the various fantasy realms characters have
entered throughout the years:
Middle-Earth, Oz, Narnia, Wonderland. It could even be outer
space, a
haunted house, or the Matrix. Regardless of the details, the new
world is sure to be filled with
adventure.

REFUSAL OF THE QUEST
During the Call to Adventure heroes are given a task or quest
which only they can complete.
They are faced with a choice: accept the quest or deny it. Their
choice might seem like a
no-brainer. If they don’t accept the quest, there won’t be much
of a story—or will there? Actually
there are stories where heroes don’t accept their destinies.
When this happens, the stage is set for
disaster. There’s a reason why the powers-that-be have chosen a
particular hero. A refusal of the
quest only brings trouble.
King Minos, the monarch of Crete who antagonizes the Greek
hero Theseus, does not do
what the gods ask of him. Poseidon, Lord of the Seas, sends him
a beautiful white bull. The god’s
only order is that Minos must sacrifice the creature back to him.
After seeing the magnificent

beast, Minos decides he just can’t bring himself to do what the
god asks and keeps the bull as a
personal trophy.
Enraged, Poseidon vows revenge and causes Minos’ wife to
burn with lust for her husband’s
prized beast. The rest of this story is strictly NC-17. It results
in the birth of the Minotaur, a
creature half-bull, half-human, a curse to his father King Minos.
Campbell notes that heroes who refuse their quest often become
characters in need of
rescuing or in Minos’ case, the villain of another hero’s
journey.
uncle are dead
accept his destiny
negative cycle caused by
refusing the call
ACCEPTING THE CALL: Once the adventure is accepted, the
heroes advance into the next
stage of their journey.

ENTERING THE UNKNOWN
As they embark on their journey, the heroes enter a world they
have never experienced
before. Very often it is filled with supernatural creatures,
breathtaking sights, and the constant
threat of death. Unlike the heroes’ home, this outside world has
its own rules, and they quickly
learns to respect these rules as their endurance, strength, and
mettle are tested time and time
again. After all, it is not the end of the journey which teaches,
but the journey itself.
he realities and
unrealities of the Matrix
SUPERNATURAL AID
Supernatural doesn’t have to mean magical. There are plenty of
hero stories that don’t have
wizards or witches per say. Supernatural simply means “above
the laws of nature.” Heroes are
almost always started on their journey by a character who has
mastered the laws of the outside

world and come back to bestow this wisdom upon them. This
supernatural character often gives
them the means to complete the quest. Some of the time the gift
is simply wisdom. Other times it
is an object with magical powers. In every instance it is
something the hero needs to succeed. As
Campbell says, “One has only to know and trust, and the ageless
guardians will appear.” The job
of the supernatural assistor is to give the heroes what they need
to finish the quest—not finish it
for them.
-Wan Kenobi
TALISMAN: A Special (and often magical) items that assist
the heroes on their quest.
ALLIES/HELPERS

Every hero needs a helper, much like every superhero needs a
sidekick. Without the
assistance of their companions and helpers along the way, most
heroes would fail miserably. For
example, in the Greek hero story of Theseus, Minos’ daughter
Ariadne, after falling hopelessly in
love, helps Theseus navigate the Labyrinth. She does this by
holding one end of a golden thread
while Theseus works his way inward to slay the Minotaur.
Without her help, Theseus would
never have fulfilled his quest or found his way out of the maze
once he did so.
crow, and
Cowardly Lion
TESTS & THE SUPREME ORDEAL
The heroes progress through a series of tests, a set of obstacles
that make them stronger,
preparing them for their final showdown. At long last they reach
the Supreme Ordeal, the
obstacle they have journeyed so far to overcome.

All the heroes’ training and toil comes into play now. The
journey has hardened them, and
it’s time for them to show their prowess. Once this obstacle is
overcome, the tension will be
relieved. The worst is passed, and the quest, while not officially
over, has succeeded.
REWARD AND THE JOURNEY HOME
Typically, there is a reward given to heroes for passing the
Supreme Ordeal. It could be a
kingdom. It could be the hand of a beautiful princess. It could
be the Holy Grail. Whatever it is, it
is a reward for the heroes’ endurance and strength.
After the heroes complete the Supreme Ordeal and have the
reward firmly in hand, all that is
left is for them to return home. Just because the majority of the
adventure has passed doesn’t

mean that the return journey will be smooth sailing. There are
still lesser homebound obstacles
to overcome.
MASTER OF TWO WORLDS/ RESTORING THE WORLD
Success on the heroes’ quest is life-changing, for them and
often for many others. By
achieving victory, they have changed or preserved their original
world. Often they return with
“the exilir,” an object or personal ability that allows them to
save their world.
The heroes have also grown in spirit and strength. They have
proved themselves worthy for
marriage, kingship, or queenship. Their mastery of the outside
world qualifies them to be giants
in their own.

THE MONOMYTH: NOT JUST FOR MYTHOLOGY
While Joseph Campbell’s monomyth works best with the
traditional form of the quest—folk
and fairy tales, myths, legends, and other fantasies—it can be
applied to many different genres
or types of stories. A quest does not have to include swords and
monsters. It can just as easily
occur in the real world. The monomyth, ageless and universal,
exists anywhere and everywhere.
ARCHETYPES APPEARING IN THE HERO’S JOURNEY
Joseph Campbell was heavily influenced by the Swiss
Psychiatrist Carl Jung whose theory of
the collective unconscious involved archetypes—recurring
images, patterns, and ideas from
dreams and myths across various cultures. Below are several
archetypes often found in myths.
ies. Everyone is the hero of
his or her own myth.
This could be the repressed
possibilities of the hero, his or her potential for evil.

could be a person or an event.
at important turning
points, including jealous enemies, professional gatekeepers, or
even the hero’s own fears
and doubts.
werewolves who change shape.
In life, the shapeshifter represents change.
-makers.
the quest.
offers danger to the hero (a
femme fatale)

THE HERO’S
JOURNEY
Cultural Values & the Struggle Against Evil
JULIE HARRIS
Chapter 1:
The Creation of the Hero
While the cultures of societies vary, there is a common
strand embedded within the infrastructure of each
civilization: the hero and his story. Societies throughout
history and from all over the globe have lifted up
exemplary individuals from folklore and legend as the
embodiments of the qualities valued by their cultures.
Heroes vary with the qualities of their cultures. Likewise,
every hero undergoes a quest from which he achieves a
place in the literary pantheon of his homeland. While
there is no outline used to definitively chronicle the
journey from mere citizen to iconic being, the fact
remains that the hero is the personification of his
culture’s morality and value system.
from The Odyssey by Homer
Odysseus and his crew fight to survive a dangerous encounter
with
Polyphemus the Cyclops as they travel across the Aegean Sea
on their
return journey to the island of Ithaca.
Cultural Heroes

"True heroism is remarkably sober, very undramatic. It is not
the
urge to surpass all others at whatever cost, but the urge to serve
others at whatever cost.”
— Arthur Ashe
What is a hero? While this inquiry may seem simplistic, it is
much
more complex than first impressions may indicate. In order to
begin
to answer this question, one must first evaluate the concepts of
good
vs. evil, self vs. greater good, and morality vs. immorality.
Even after
considering these concepts, the definition of a hero can still be
elu-
sive.
Common perceptions of a hero include an individual who has
the
courage of conviction to perform feats that benefit the general
populace, acts as a soldier of virtue, and has an altruistic spirit
that
urges him or her to act against evil and defend the greater good
at
all costs, even sacrificing his own well-being or life. This
archetype
of heroism allows an individual to serve as the primary
example of
what society deems as valuable and moral. Thus, the hero’s
ability
to maintain his position in a society directly correlates to his
ability
to uphold the standards set forth to him by that society. The

manner
in which individuals complete their tasks and succeed in their
jour-
neys largely influence their hero status, so one cannot forget to
evalu-
ate these courageous souls based on the cultures from which
they
come. For example, Batman is really Bruce Wayne, a billionaire
play-
boy and philanthropist. According to the criteria of heroic
values out-
lined in this section, Batman can be defined as a hero. He saves
the
weak, rights wrongs and prevents corruption/crime all while
fight-
ing his inner demons which stem from the murders of his
parents.
By Western society’s standards, he is the epitome of what a
hero
should be: successful, brave, cunning and strong. However,
would the
❖ What are the qualities that define a hero?
❖ Since heroes derive from their civilizations and
exemplify that society’s value systems, what qualities
would a hero from your culture represent?
❖ What must an individual do to be considered a hero?
Are heroes born, or are they made as a result of
experiences?
2

SECTION 1
The Hero and the Journey
hero label be applied to him in other cultures? What about in
this society a hundred years ago?
An analysis of the hero ultimately prompts one to wonder
about the catalyst for his actions. In other words, what experi-
ences create a need for a hero to respond (become the hero)?
According to Joseph Campbell in his book The Hero with a
Thousand Faces,
Once a hero experiences the call to action, the adventure can
begin. So, how is it that heroes are capable of achieving what
others cannot? Is it that they are cloaked with invincibility by
sympathetic gods or endowed with never ending good luck?
The answer is probably more simple than it should be: They
are only mortals, ones that try their best to accomplish feats
while fighting against external and internal forces. The only
difference between them and other people is their response to
the call to be heroic.
The journey from citizen to hero is not one that has a defined
blueprint; however, there are several key factors that are
inherent to most heroes. Each hero begins his journey with
the call to action. This is the reason that he decides to leave
the safety of his
home to search the
globe for an object or
cause which is
valuable to him.
While the hero is
expected to complete

his nostros (return
journey) and return
to his home to live
out his days in peace
or bask in the glory
of his feats, there is
the possibility that
the task to be under-
taken will bring
about the death of
the hero. This is an
acceptable risk to the hero. After all, the hero views his poten-
tial death as the greatest testament to his dedication to his
cause.
Along with a hero’s self-sacrificing nature is the hero’s inborn
need or responsibility to combat and defeat evil. Encounter-
ing wickedness, the hero will utilize every available option he
has and exhaust the limits of his own strength and intelli-
gence to ensure that good prevails. This means that he has to
dig deep, be brave and persevere. When faced with circum-
stances that dwarf the abilities of mortal man, heroes often
call upon the favor of outside forces. They often accomplish
“The usual hero adventure begins with someone from whom
something has been taken, or who feels there is something
lacking in
the normal experience available or permitted to the members of
society. The person then takes off on a series of adventures
beyond
the ordinary, either to recover what has been lost or to discover
some
life-giving elixir. It's usually a cycle, a coming and a
returning.”
3

this by relying on faith in higher powers. Demonstrating
their belief that those entities will aid them is an essential
part of what makes heroes heroic. It is the embodiment of
the ideal that heroes do not always believe themselves to be
all-powerful and capable of single-handedly righting every
wrong; instead, they must be the ones who show humility and
knowledge of self in order to reach out for help when it is
needed. In essence, they must be able to overcome them-
selves before they can overcome external forces.
At this point, a hero seems to be both indestructible and in-
corruptible. However, part of being labeled a hero is how an
individual responds when he makes a mistake. Does the pro-
tagonist shut down or give up the quest? Does he blame oth-
ers or make excuses for his shortcomings? No. This would
not be heroic. Instead, archetypical heroes accept their own
imperfections and use negative experiences as opportunities
to learn and grow. They then utilize their acquired
knowledge in future encounters on their quests. For example,
a individual that acts out of pride may suffer setbacks in his
quest until he learns that he must rely on others to find suc-
cess. Once he learns a lesson, he often triumphs in his task
and earns the label of “hero” due to his newfound under-
standing.
Whether it be saving the world from dark forces, retrieving
items of value, or fighting to uphold the cultural values, all
heroes are tested throughout each stage of their journeys
and, hopefully, learn a few lessons along the way.
Note for Reader
Before turning the page, brainstorm a list of heroes with
which you are familiar. Think about their backstories.
Question Yourself:
- What made them who they are?

- Why are they considered heroes?
- What qualities of your society do they represent?
4
5
Refusal of the Call:
point at which hero
doubts whether or not to
go on the journey
The Call to Adventure:
hero’s goal is made clear
Common Day:
where hero is from; what
everyday life would be like
in that time period
Meeting with the
Mentor:
hero is introduced to a
person who prepares
him to face future
challenges
Crossing the First
Threshold:

hero commits to the
quest and begins the
journey
Tests, Allies & Enemies:
hero is introduced to and
learns the rules of the
Unknown World
Approaching the Inmost
Cave:
hero encounters a danger-
ous place which hinders
the completion of his
quest
The Supreme Ordeal:
hero is confronted with
the most difficult task or
opponent to overcome;
could end in success or
death of hero
Reward: Seizing the
Prize
hero reaps a reward as a
result of his triumph; can
be treasure, experience,
knowledge, etc.
The Road Back:

hero must deal with
fallout from overcoming
negative forces associated
with the Supreme Ordeal
Threshold Crossing or
“Resurrection”:
hero is transformed by
his adventure(s) and re-
turns to his ordinary life;
uses new insights to guide
him in his new life
Return with Elixir-
“Freedom to Live”:
any product of value
that was obtained as a
result of the hero’s quest
If something of negative
value/influence attaches
itself to the reward, the
hero may have to repeat
his journey.
The Hero’s Journey
Text in Action
6
The Matrix: Joseph Campbell’s Monomyth

This film clip explains Campbell’s stages of the hero’s journey
in correlation to the plot of The Matrix.
Please view the clip at this time.
Objectives for Discussion
At the end of the next segment, you should be able
to do the following:
--Critically discuss and evaluate the
hero’s journey chart.
--Connect the model of the hero’s
journey to examples from your own
viewing or reading experiences.
--Construct higher order questions to
explore/discuss topics connected to
the concepts of the hero and his
journey.
Use these questions to begin a
small group seminar.
• Examine and evaluate the validity of Campbell’s three
phases of the journey: departure, fulfillment & return.
Are all three parts necessary? Why or why not?
• If you were to create your own graph of the hero’s
journey, what would it look like? How many stages would
it have? What would the different parts of the journey
be? Discuss. Feel free to doodle your ideas on the
sketchpad as you talk within your group.

• How does the hero’s journey model relate to works of
literature/film that you have previously viewed? How
does another work fit into or differ from Campbell’s
model?
• How would you use the Campbell graph to explain the
growth of an individual from common citizen to hero?
Use examples from the graph in your discussion.
• Do you agree or disagree with any of the parts of
Campbell’s model of the hero’s journey? Explain.
7
Frame Questions for Advanced Discussions
Fill in the sentence frames below with your own information to
create questions that will enrich your group’s discussion. Be
creative and productive.
Individual Response
EVALUATION: Email your responses to these prompts to
your instructor. Your header should be in MLA format. Make
sure that you label your answers with the letter of the prompt.
• A. Was Campbell’s graph convincing as the model of the
hero’s journey? Explain your response.
• B. Apply what you know about hero tales to this graph.
Which components of the model are universally true vs. con-
dition based on the character?

• C. Review the graph. What is your overall opinion of it?
What could be added or taken away to improve it?
• D. How well can you make conclusions about heroes based
on and supported by the graph provided?
INFERENCE
• Hypothesize what will happen if___.
• Apply what you know about the qualities of a hero to the
graph. How do they enable a hero to be successful on his
journey?
• Based on your observations of the graph, what can you con-
clude about___?
• What if___?
COMPARISON
• How is ___like___?
• How are___ and ___different?
• Compare the hero before and after the adventure.
• Distinguish between ___and___.
• Compare___with___.
ANALYSIS
• Use the graph/video to determine____.
• What is another possible___?
• If you changed part of the sequence___?
• What additional information is needed to___?
• What does ___symbolize?
• Analyze the ___in___.
• What words does the author use to paint an image of ___
• How were ___used to ___?

• What is the purpose of___?
• What is the pattern of___? How could it be changed?
• Give an example of ___from another text. Explain it.
• Which ___does not belong in the ___?
• What is the relationship between___and___?
• Break the graph down into its most primary parts. What is
8
Click here to provide
your feedback.
9
CHAPTER REVIEW
Conclusion
Quiz:
Complete the following assessment to test how well
you have mastered the concepts presented in this sec-
tion.
Check Answer
Question 1 of 4
All of the following are qualities of a hero except:
A. brave and cunning
B. responsibility to defeat evil
C. selfless

D. has had an experience that forces him
to become a hero
Chapter 2
Within their lifetimes, many individuals will be placed in
a situation that provides a choice: to act or to remain
stationary. While the circumstances are probably not
going to alter the planet’s existence, there are times when
mere mortals act out of courage to uphold standards of
morality, right wrongs or take up for the weak. These are
times when the inner hero emerges, but what causes
people to shed their civilian overcoats and don their
proverbial capes? Though the rewards may be great,
heroes are rarely motivated to act in the hopes of an
extrinsic reward. Instead, their actions are the products
of their own convictions and beliefs. They are driven to
act with the intent of positive outcomes as a result of
their society’s values and moral codes.
IDEALS THAT MOTIVATE
THE HERO
“We're our own dragons as well as our own heroes, and we
have to rescue ourselves from ourselves.”
-Tom
Robbins
Chapter 1 primarily focused on the definition or a hero, his ori-
gin and journey. However, a deeper look at the inner workings

of the hero’s psyche is necessary fully comprehend what moti-
vates and inspires him to act. After all, there would be no drive
to go on a journey for truth, justice, or gain was it not for the
hero’s own system of morality goading him to do so.
Engrained in each culture is a set of values which govern what
is
morally acceptable within that society. While the terms value
and morality may seem like similar, slight variances in their
con-
notations denote subtle differences that create a vital contrast
be-
tween the two. Values are principles or standards of behavior
that are subjective and primarily concern what an individual
believes is good or wicked. A person’s values have no definitive
boundaries and are subject to change as that individual matures
or gains life experiences which may ultimately force one to
change previous premises concerning appropriate courses of ac-
tion. Additionally, values are subjective, meaning that they vary
from person to person. A value can be as simple as the idea that
the preservation of human life is the most important ideal.
They
may be universal within a sect (group) or culture, but it is
unrea-
sonable to assume that they are the same for all members of the
global society.
Morality is based upon the values of an individual; however, it
goes beyond identifying and labeling actions as good or wicked,
11
❖ What are the values inherent within our society
[school, local community, nation]?

❖ How does your culture define morality?
❖ What individuals within our culture best represent the
values of your society?
❖ Can multiple levels of morality exist in the same
culture? Explain.
SECTION 1
Eve’s Apple
Values & Morality
sh/morality
sh/morality
focusing on the way an individual chooses to behave. In
short, morality is based on actions, not a theory of behavior.
For example, it is one thing to believe that someone should
not tell a lie; however, it is up to an individual’s moral code
not to do so.
Cultures throughout history differ in their societal values
and codes of morality. What actions may seem perfectly ac-
ceptable in some cultures may be frowned upon or even ille-
gal in others. Much like values, the concept of morality is
open to interpretation and varies across cultures, regions, and
countries.
Introducing the hero’s journey means identifying the
hero himself as the paragon or protector of a culture’s values
and morality system, pinpointing the beliefs and opinions of
his society and demonstrating that culture’s relative tolerance
to situations that diverge from its norms. Take for example

the Superman saga. The hero is bound by his own system of
morality to defend the people of Earth from maniacal mad-
men, natural disasters and not-so-friendly extraterrestrials.
His adherence to protect and defend the planet’s citizenry
stems from an internal system of right and wrong. He is self-
less acts and relatively endless supply of strength are sued to
better the world. However, many of his attributes strongly
align with the values of Western culture. He is strong, intelli-
gent, resourceful, and compassionate. How does he compare
with other iconic heroes within our culture? What does this
say about our society? What do we value?
HOW MORAL ARE YOU?
The quiz below will rate your moral foundations--
the five different bases of the moral decisions you
make in your daily life--on a scale of 1-5:
•harm and care
•fairness and reciprocity
•loyalty
•authority and respect
•purity and sanctity
http://personality-testing.info/tests/MFQ.php
Complete the quiz and review the results. Be
prepared to answer a few questions.
12
THE RESULTS

THINK
1. What is your highest rated foundation (harm and care,
fairness and reciprocity, loyalty, authority and respect,
or purity and sanctity)?
2. Which is your lowest?
3. How might these foundations play out in your daily
life?
4. Complete the following sentence: If I saw a person
suffering and had the power to save them, I would
_____, because ____. How does your response reflect
your moral foundations?
PAIR
5. With a partner, compare your responses to the
statement above.
6. How are they alike? Different?
13
SHARE
7. If you were a hero on a quest, how might your moral
foundations guide the decisions you made on your
journey?
CONCLUSION
While the values that govern societies vary, the constant
remains: Cultural heroes embody the very best ideals of the
society from which they come. Since heroes are theoretically
the purest example of societal virtues, who they are speaks
volumes about where they come from and what is valued.
Does this mean that societies should be careful when
popularizing their heroes? Perhaps. After all, they do

represent their core values and project any societal defects
for others to see, in effect, creating the need for all heroes to
be super.
Chapter 3
Since the creation of the hero, there has been an anti-
hero. A hero could not be heroic without something or
one to overcome. Hence, an outside force is needed to
create conflict and further evidence the intellect, virtue or
strength of the hero. Without an anti-hero or monster,
tales would be much less interesting and the hero much
less great.
OVERCOMING CONFLICT:
SOCIETAL MONSTERS
“Heroes need monsters to establish their heroic
credentials. You need something scary to
overcome.”
-Margaret Atwood
For as long as there have been heroes, there have been forces to
act in direct conflict with them. The struggles of heroes against
all things wicked make the heroes things of legend and the van-
quished evildoers examples to illustrate to future generations
why individuals should remain within the confines of the law
or
cultural norms. Various names have been given to those entities
that step outside of the established system: monster, villain, an-
tagonist, or bad guy. However, are these names truly represent-
ing what these characters are, or do they indicate what estab-

lished cultures fear: those that do not fit into societal molds?
To answer this question, the etymology of word monster must
be examined. In earlier years, the term meant some kind of
creature that was enormous, ugly, and scary. Throughout time,
this definition has not varied; rather, it has been added to by
indicating that a monster must also be something/one that is
uncontrollable. This additional information creates a new
conno-
tation of the word that carries with it an interesting point of
dis-
cussion: Are monsters truly evil, or are they just markably
differ-
ent from people in the society from which they come? The an-
swer to such a question is not nearly as easy to answer as it may
seem. In order to answer this question, one must ask if the
oppo-
site of good is always evil, if the alternative to citizen is non-
Essential Questions
• What is a monster?
• What is the relationship between
countercultural actions and the creation of
societal monsters?
• Why do monsters cause a threat to social
constructs?
15
SECTION 1
Monsters & the Hero

conformist, and if all things that are differ from societal
normality should be seen as either offensive or to be feared.
What is so terrifying of creatures that are different?
If the purpose of the hero is to uphold the principles and
values of a culture, then the opposite should be true of the
anti-hero or monster figure. This individual should, in theory,
represent the collective fears and deficiencies within a society,
making the monster the living embodiment of that culture’s
shortcomings. Could this be the reason that members of
particular societies find their monsters so terrifying?
Admitting this
would mean
that monsters
are the mirrors
which reflect
a culture’s
shortcomings,
and assuming
this theory, the
society would
detest, push
away, and
actively seek to
destroy any evidence of its own lack of virtue or structural
strength so that it is not exposed for ridicule or thought of as
weak.
Consider Victor Frankenstein’s monster. In the classic novel
Frankenstein by Mary Wollstonecraft Shelley, a scientist con-
structs a creature from bodies of the deceased then reani-
mates it only to discover that he is appalled by what he has
brought to life. His abhorrence of his creation leads him to

reject and shun it. As the novel continues, the scientist tries
desperately to put distance between himself and the creation,
an act which only infuriates the lonely creature who seeks the
love and acceptance of his creator. The creature turns violent
as a result of his creator’s neglect and murders several people
close to Frankenstein. While the novel primarily concerns it-
self with the external struggle between the creature and his
creator, it also serves as a commentary on the society and
time period in which it occurred. The conflict between
scientist and creation call into question mankind’s tendency
to act before thinking about potential consequences and over-
step the boundaries of morality and the laws of nature. Who
was really to blame for the tragedies that occurred in the
novel? A creature, who murdered but was never nurtured or
taught human decency, or a scientist, who fancied himself a
god and then failed to directly deal with negative fall out
from his botched experiment? It is easy to place the blame on
the creature which personified the very definition of the
word monster and acted far outside of the scope of what is
morally acceptable. However, does that mean that
Frankenstein is blameless for the tragedies? Can he truly be
considered a heroic figure for battling an evil of his own
creation? And, if the creature is the embodiment of the short-
comings and vanity of that time period, does that mean that
readers were actively rooting against their own social con-
structs, way of living and morality?
16
FINAL THOUGHTS

What does this society value? A hero in this culture would be
the living, breathing embodiment of those ideals. The oppo-
site would be true of a monster born from the collective fear,
loathing, and vulnerability that it has. So, what would a mon-
ster from this society look like?
ACTIVITY
Using this widget, quickly sketch an image that represents
what you think your society fears. Be prepared to share your
artwork with others.
Questions for Discussion:
1. What do you think your monster says about the fears in so-
ciety?
2. What does your monster say about your own fears?
3. What kind of hero might it take to defeat your monster?
Extension Activity
In his essay “Monsters and the Moral Imagination,” author
Stephen T. Asma created an overview of the causes of
society’s fascination with monsters and provide commentary
on what the increase in this genre of film/literature says
about this culture. Click LINK and read the primary source.
17
SKETCHPAD

PART I: When you are finished reading, discuss the
following questions:
• What is the purpose of a monster?
• How could analyzing monsters teach individuals about
their own value systems?
• How do monsters increase the audience’s self perception
(vision of him/herself)?
• In what ways can monsters empower the hero of the film
or literary work?
• How can monsters be used to empower viewers?
PART II:
Think of both a hero and a monster or villain from either
film or literature. Create a Venn diagram that compares and
contrasts the two characters.
Answer:
• Are the characters more alike or different? Why? Explain.
• Infer: What does your selected hero value? the Monster?
• Evaluate: What is the biggest difference between the two
characters?
• How does the setting of the work influence who is consid-
ered a hero vs. a monster/villain?
Venn Diagram
Widget
18

Summative Assessment:
This activity should be completed individually.
Reflect on the Venn diagram that was created and the
discussion that followed.
TASK
Write a paragraph that explains how both the hero and
the monster/villain represent the values of the culture
from which they come. In your response include your
ideas to the question: If the time period was changed
(moved back or forward in time), would the hero still
be the hero and the monster the villain? Why or why
not? Discuss.
19
Chapter 4
COMMON CORE
STANDARDS
Common Core Standards
The following standards are utilized in this iBook:
a. SL.9-10.1. Initiate and participate effectively in a range of
col-
laborative discussions (one-on-one, in groups, and teacher-led)
with
diverse partners on grades 9–10 topics, texts, and issues,
building on
others’ ideas and expressing their own clearly and persuasively.
b. RH.9-10.1. Cite specific textual evidence to support

analysis of
primary and secondary sources, attending to such features as the
date and origin of the information.
c. RH.9-10.2. Determine the central ideas or information of
a
primary or secondary source; provide an accurate summary of
how
key events or ideas develop over the course of the text.
d. RL.9-10.2. Determine a theme or central idea of a text
and
analyze in detail its development over the course of the text,
includ-
ing how it emerges and is shaped and refined by specific
details; pro-
vide an objective summary of the text.
e. RL.9-10.6. Analyze a particular point of view or cultural
expe-
rience reflected in a work of literature from outside the United
States, drawing on a wide reading of world literature.
f. RL.9-10.7. Analyze the representation of a subject or a
key
scene in two different artistic mediums, including what is
empha-
sized or absent in each treatment.
g. W.9-10.3. Write narratives to develop real or imagined
experi-
ences or events using effective technique, well-chosen details,
and
well-structured event sequences.
h. W.9-10.6. Use technology, including the Internet, to
produce,
publish, and update individual or shared writing products,
taking ad-
vantage of technology’s capacity to link to other information
and to
display information flexibly and dynamically.

ALTRUISTIC
[adjective] Unselfish concern for the welfare of others;
selflessness
Synonyms: selfless, unselfish, benevolent,
charitable, philanthropic
Index
Find Term
ARCHETYPE
[noun] a personality type that is generally thought to be the
greatest or purest
example; an overly generic version of a personality
Synonyms: epitome, model, standard, prime example
Index

Find Term
THE HERO’S JOURNEY
Joseph Campbell, an American mythological researcher, wrote
a famous book entitled The
Hero with a Thousand Faces. In his lifelong research Campbell
discovered many common patterns
running through hero myths and stories from around the world.
Years of research lead
Campbell to discover several basic stages that almost every
hero-quest goes through (no matter
what culture the myth is a part of). He calls this common
structure “the monomyth.”
George Lucas, the creator of Star Wars, claims that Campbell’s
monomyth was the inspiration
for his groundbreaking films. Lucas also believes that Star Wars
is such a popular saga because it
taps into a timeless story-structure which has existed for
thousands of years.
Many followers of Campbell have defined the stages of his
monomyth in various ways,

sometimes supplying different names for certain stages. For this
reason there are many different
versions of the Hero’s Journey that retain the same basic
elements.
THE ORDINARY WORLD
Heroes exist in a world is considered ordinary or uneventful by
those who live there. Often
the heroes are considered odd by those in the ordinary world
and possess some ability or
characteristic that makes them feel out-of-place.
at Pride Rock
THE CALL TO ADVENTURE
For heroes to begin their journeys, they must be called away
from the ordinary world.
Fantastic quests don’t happen in everyday life. Heroes must be
removed from their typical

environment. Most heroes show a reluctance to leave their
home, their friends, and their life to
journey on a quest. But in the end they accept their destiny.
Usually there is a discovery, some event, or some danger that
starts them on the heroic path.
Heroes find a mystic object or discover their world is in danger.
In some cases, heroes happen
upon their quest by accident. Campbell puts it like this, “A
blunder—the merest chance—reveals
an unsuspected world.”
The new world the hero is forced into is much different than
the old one. Campbell describes
this new world as a “fateful region of both treasure and
danger…a distant land, a forest, a
kingdom underground, beneath the waves, or above the sky, a
secret island, lofty mountaintop,
or profound dream state…a place of strangely fluid and
polymorphous beings, unimaginable
torments, superhuman deeds, and impossible delight”. This
description may seem pretty vague,
but think of all the various fantasy realms characters have
entered throughout the years:
Middle-Earth, Oz, Narnia, Wonderland. It could even be outer

space, a
haunted house, or the Matrix. Regardless of the details, the new
world is sure to be filled with
adventure.
ard arrives
REFUSAL OF THE QUEST
During the Call to Adventure heroes are given a task or quest
which only they can complete.
They are faced with a choice: accept the quest or deny it. Their
choice might seem like a
no-brainer. If they don’t accept the quest, there won’t be much
of a story—or will there? Actually
there are stories where heroes don’t accept their destinies.
When this happens, the stage is set for
disaster. There’s a reason why the powers-that-be have chosen a
particular hero. A refusal of the
quest only brings trouble.

King Minos, the monarch of Crete who antagonizes the Greek
hero Theseus, does not do
what the gods ask of him. Poseidon, Lord of the Seas, sends him
a beautiful white bull. The god’s
only order is that Minos must sacrifice the creature back to him.
After seeing the magnificent
beast, Minos decides he just can’t bring himself to do what the
god asks and keeps the bull as a
personal trophy.
Enraged, Poseidon vows revenge and causes Minos’ wife to
burn with lust for her husband’s
prized beast. The rest of this story is strictly NC-17. It results
in the birth of the Minotaur, a
creature half-bull, half-human, a curse to his father King Minos.
Campbell notes that heroes who refuse their quest often become
characters in need of
rescuing or in Minos’ case, the villain of another hero’s
journey.
uncle are dead
efuses to return to Pride Rock and
accept his destiny
refusing the call

ACCEPTING THE CALL: Once the adventure is accepted, the
heroes advance into the next
stage of their journey.
ENTERING THE UNKNOWN
As they embark on their journey, the heroes enter a world they
have never experienced
before. Very often it is filled with supernatural creatures,
breathtaking sights, and the constant
threat of death. Unlike the heroes’ home, this outside world has
its own rules, and they quickly
learns to respect these rules as their endurance, strength, and
mettle are tested time and time
again. After all, it is not the end of the journey which teaches,
but the journey itself.
of Oz: Dorothy must learn the rules of Oz
unrealities of the Matrix
SUPERNATURAL AID

Supernatural doesn’t have to mean magical. There are plenty of
hero stories that don’t have
wizards or witches per say. Supernatural simply means “above
the laws of nature.” Heroes are
almost always started on their journey by a character who has
mastered the laws of the outside
world and come back to bestow this wisdom upon them. This
supernatural character often gives
them the means to complete the quest. Some of the time the gift
is simply wisdom. Other times it
is an object with magical powers. In every instance it is
something the hero needs to succeed. As
Campbell says, “One has only to know and trust, and the ageless
guardians will appear.” The job
of the supernatural assistor is to give the heroes what they need
to finish the quest—not finish it
for them.
-Wan Kenobi
airy Godmother
TALISMAN: A Special (and often magical) items that assist
the heroes on their quest.

ALLIES/HELPERS
Every hero needs a helper, much like every superhero needs a
sidekick. Without the
assistance of their companions and helpers along the way, most
heroes would fail miserably. For
example, in the Greek hero story of Theseus, Minos’ daughter
Ariadne, after falling hopelessly in
love, helps Theseus navigate the Labyrinth. She does this by
holding one end of a golden thread
while Theseus works his way inward to slay the Minotaur.
Without her help, Theseus would
never have fulfilled his quest or found his way out of the maze
once he did so.
Cowardly Lion
TESTS & THE SUPREME ORDEAL

The heroes progress through a series of tests, a set of obstacles
that make them stronger,
preparing them for their final showdown. At long last they reach
the Supreme Ordeal, the
obstacle they have journeyed so far to overcome.
All the heroes’ training and toil comes into play now. The
journey has hardened them, and
it’s time for them to show their prowess. Once this obstacle is
overcome, the tension will be
relieved. The worst is passed, and the quest, while not officially
over, has succeeded.
ting the Wicked Witch
REWARD AND THE JOURNEY HOME
Typically, there is a reward given to heroes for passing the
Supreme Ordeal. It could be a
kingdom. It could be the hand of a beautiful princess. It could
be the Holy Grail. Whatever it is, it

is a reward for the heroes’ endurance and strength.
After the heroes complete the Supreme Ordeal and have the
reward firmly in hand, all that is
left is for them to return home. Just because the majority of the
adventure has passed doesn’t
mean that the return journey will be smooth sailing. There are
still lesser homebound obstacles
to overcome.
MASTER OF TWO WORLDS/ RESTORING THE WORLD
Success on the heroes’ quest is life-changing, for them and
often for many others. By
achieving victory, they have changed or preserved their original
world. Often they return with
“the exilir,” an object or personal ability that allows them to
save their world.
The heroes have also grown in spirit and strength. They have
proved themselves worthy for
marriage, kingship, or queenship. Their mastery of the outside
world qualifies them to be giants

in their own.
ire
THE MONOMYTH: NOT JUST FOR MYTHOLOGY
While Joseph Campbell’s monomyth works best with the
traditional form of the quest—folk
and fairy tales, myths, legends, and other fantasies—it can be
applied to many different genres
or types of stories. A quest does not have to include swords and
monsters. It can just as easily
occur in the real world. The monomyth, ageless and universal,
exists anywhere and everywhere.
ARCHETYPES APPEARING IN THE HERO’S JOURNEY
Joseph Campbell was heavily influenced by the Swiss
Psychiatrist Carl Jung whose theory of
the collective unconscious involved archetypes—recurring
images, patterns, and ideas from
dreams and myths across various cultures. Below are several
archetypes often found in myths.

his or her own myth.
This could be the repressed
possibilities of the hero, his or her potential for evil.
could be a person or an event.
at important turning
points, including jealous enemies, professional gatekeepers, or
even the hero’s own fears
and doubts.
werewolves who change shape.
In life, the shapeshifter represents change.
CKSTERS: Clowns and mischief-makers.
offers danger to the hero (a

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