This essay investigates the applicability of Joseph Campbell’s notion of the Hero’s Journey from his theoretical work The Hero with a Thousand Faces on J.R.R. Tolkien’s The Hobbit, or, There and Back Again. This has been done by outlining the essential aspects of Campbell’s theory and then performing a reading and analysis of Tolkien’s work. Furthermore, this essay focuses on the narrative structure proposed by Campbell, but also the heroic character’s development—in this instance, Bilbo Baggins’ development. As such, a brief examination of Campbell’s attitude and use of Freudian psychoanalysis has been performed as well as a presentation of Bilbo Baggins’ character and dual nature before the adventure. As a possible line of argument Tolkien’s knowledge of myth is also briefly expounded on. This essay does not research or make any definitive statements on the universal applicability of Campbell’s theory, but merely finds that Tolkien’s The Hobbit, or, There and Back Again appears to conform well to Campbell’s proposed narrative structure and that the development of Bilbo’s heroic character, or his character arc, is in concurrence with this as well.

Storytelling kan ses som ett effektivt marknadsföringsverktyg inom destinationsutveckling. Storytelling, särskilt presenterat i filmformat, har aktualiserats de senaste åren och förekommer som en högt rankad trend och strategi på DestinationsNEXT Future 2021 study, den mest omfattande rapporten i världen inom destinations- och turismbranschen. Det förekommer dock ett gap mellan trenden och användningen av storytelling i filmformat bland Destination Marketing Organisations (DMO). Det saknas ett tydligt ramverk för hur storytelling kan struktureras och det vanligast förekommande är att DMO:s producerar så kallade kollage-videos, utan innehåll av storytelling. Ett sätt att strukturera kraftfulla berättelser i DMO:s kommunikationsfilmer skulle istället kunna vara att använda storytellingramverket The Hero’s Journey. Syftet med denna studie är således att skapa en ökad förståelse för Destination Marketing Organisations (DMO) användning av storytelling i kommunikationsfilmer. Vidare ämnar studien undersöka vilka utmaningar som kan påverka DMO:s arbete med detta. Den teoretiska utgångspunkten för studien innefattar DMO:s komplexa roll, deras olika syften och förväntade effekter med storytelling samt ramverket The Hero’s Journey. Materialinsamling har bestått av sex semistrukturerade intervjuer med svenska regionala DMO:s samt en dekonstruktion av utvalda kommunikationsfilmer från vardera DMO. Studiens viktigaste resultat visar på hur DMO:ernas komplexa roll möjliggör eller hindrar dem från att genomföra bra kommunikationsfilmer innehållandes storytelling. Den geografiska komplexiteten, samarbeten mellan regioner, tids- och resursbrist, samt svårigheter med representation är de största faktorer som påverkar arbetet. Vidare visade resultatet hur DMO:s använder storytelling i olika syften, vilka är av både kognitiv, affektiv och konativ karaktär och visar på att olika effekter önskas nås genom deras storytelling och därmed påverkar innehållet. En kartläggning har genomförts för att undersöka hur DMO:ernas storytelling följer det valda ramverket, The Hero’s Journey. Det framkommer hur endast två av filmerna tydligt kan sägas följa en berättelsestruktur enligt detta ramverk, men där flera steg kunde urskiljas i alla filmer. Stegen var dock olika tydliga och tyder på att ramverket inte efterföljs i någon större utsträckning. Då DMO:erna själva inte uttryckte hur de följde ett specifikt ramverk vid skapandet av filmerna, tyder identifieringen av stegen på hur detta ramverk har potential att användas ännu mer och på så vis göra det möjligt för DMO:s att skapa filmer med mer storytelling. / Storytelling can be seen as an effective marketing tool in destination development. Storytelling, especially presented in film, has become relevant in recent years and appears as a highly ranked trend and strategy in the DestinationsNEXT Future 2021 study, the most comprehensive report in the world in the destination and tourism industry. However, there is a gap between the trend and the use of storytelling in film among Destination Marketing Organizations (DMO). There is no clear framework for how storytelling can be structured and most commonly DMO:s produce so-called collage videos, without content of storytelling. One way to structure powerful stories in DMO:s communication films, could instead be to use the storytelling framework The Hero's Journey. The purpose of this study is thus to create an increased understanding of Destination Marketing Organizations' (DMO) use of storytelling in communication films. Furthermore, the study intends to investigate what challenges may affect DMO's work with this. The theoretical starting point for the study includes DMO's complex role, their different purposes and expected effects with storytelling and the framework The Hero's Journey. To collect empirical data, six semi-structured interviews with Swedish regional DMO:s and a deconstruction of selected communication films from each DMO has been conducted. The main results of this study shows how the DMO's complex role enables or prevents them from creating good communication films containing storytelling. The geographical complexity, collaborations between regions, lack of time and resources, and difficulties with representation are the biggest factors that affect their work. Furthermore, the results showed how DMO:s use storytelling for different purposes, which are of both cognitive, affective and conative nature and show that different effects are desired to be achieved through their storytelling and thus affect the content. An investigation has been carried out to see how DMO's storytelling follows the chosen framework, The Hero's Journey. Only two of the films can clearly be said to follow a narrative structure according to this framework, but several steps could be distinguished in all films. However, the steps were clear to different degrees and indicate that the framework is not followed to any greater extent. Although the DMO:s did not mention following a framework when creating their films, the identified steps shows how the framework has potential to be used further and enable for DMO:s to create films with even more storytelling. The following essay is written in swedish.

The study set out to examine how using a different type of narrative, the epiphanic structure, compares to the hero’s journey in both non-interactive as well as interactive writing. Earlier studies about different narrative structures were examined as well as reasons for how the hero’s journey has become used to such a high degree that many other structures are barely known by many people. An artifact was created that included four versions of a similar narrative. Two were interactive and the other two were not. Out of each of the two groups, one variant followed the hero’s journey and the other followed the epiphanic narrative structure. Three participants were invited to interact with the artifact and an interview/discussion was held with them each individually. All three of the participants expressed similar opinions about the four narrative variants and agreed that the epiphanic structure felt interesting and provided surprising additional insight.

Background: This thesis aims to show that the narratives of the Nag Hammadi Apocalypse of Pauland First Apocalypse of James are written for a Valentinian audience. The purpose is to broaden the field of research on Valentinianism by showing how the authors and their implied readers composed and perceived the texts in question. Method: Comparing the mythological language of the two narratives and their description of a hero’s journey in a transcendent reality it is possible to disentangle the Valentinian material from the imaginative world of the reader, a world consisted of ancient Egyptian and Greek mythology as well as Jewish apocalypticism and early Christian legends and traditions. The texts are also compared with new research in the field, other related Valentinian scriptures, the New Testament, and Christian Apocrypha. Results: The texts are pseudepigraphic and written within a Jewish apocalyptic genre sometime during the late second or early third century. The symbolism and the diverse metaphors of the narratives indicate that the texts incorporate a specific soteriological message through embedded Valentinian mythology. The implied reader is to understand that the material world is an illusion and that the purpose of the initiate is to awaken the mind and acquire knowledge about the truth. By doing so the redemption of the believer’s spirit from its human body and soul leads to the spirits reunion with God. Conclusion: The analysis of the texts points toward the fact that the narratives could very well have been used for catechetical or other educational purposes within a Valentinian community. The language and form of the two narratives fit to serve this purpose. In many ways, the reader has to be initiated within a Valentinian context in order to grasp the intended message. / <p>Godkännande datum 2019-06-10</p>

The purpose of this multi-method single-case study was to examine the application of Joseph Campbell's Heroic Journey model as a means of professional identity creation in the life of Walt Disney. Walt Disney was an entrepreneur, cartoonist, filmmaker, inventor, studio head, and family man whose career stretched through the first half of the 20th century. Walt used his imagination and creativity to establish industry norms in the animation, film, television, and amusement park industries. Walt Disney's legacy and vision continue to be a viable influence within the Walt Disney Company today. Campbell's Heroic Journey model was used as the theoretical framework for this study. The Heroic Journey model is rooted in folklore but is used as a means of personal self-discovery and self-construction (Murray, 2009). In the model, Campbell (2008) suggested that the world's myths were not a series of differing myths but one myth, the monomyth, played out differently across cultures. The monomyth is broken into three parts (separation, initiation, and return), with 17 stages dispersed across the parts. The Heroic Journey model states that all heroes leave their familiar world, progress through trials, and return home with new learning for change. This framework was applied to Walt Disney's life to look at the narrative influence on his professional identity. The expansion of narrative scholarship and its influence on creating personal and professional identity using historical research, document review, and observational data was the purpose of this qualitative study. The Heroic Journey model acts as a lens to create and discover one's identity by using stories as a vehicle of understanding. All of life's experiences must be viewed as narrative experiences to use the Heroic Journey model. This study found that narrative cannot be separated from the human experience. It is one's life and lived experiences that create the story of their existence through separation, initiation, and return. Every experience from one's birth to death contributes to whom they will become both personally and professionally. By looking at life as a series of stories and narratives, one realizes the depth of their identity through reflection and examination.

AFRIKAANS: Die doelwit van die studie is die skepping van ‘n omvattende kontrolelys vir die skryf en evalueer van dramadraaiboeke. Die navorsing dek alle tradisionele kommersiële genres binne rolprentdrama, met die uitsondering van komedie. Om die kontrolelys te skep, is daar eers gepoog om die somtotaal van tegnieke wat die vakgebied van dramadraaiboekskryf behels, te identifiseer. Dit vergestalt in sewe inventarisse naamlik: Bestaande kontrolelyste, genre-eienskappe en draaiboekskryftegnieke vir struktuur, plot, emosie, karakters, en dialoog&diverse. Die studie behels kwalitatiewe navorsing wat beide beskrywend en voorskriftelik is. Die uitleg en inhoud is as volg: Hoofstuk 1: Navorsingsontwerp dek die • oriëntasie ten opsigte van die onderwerp; • konteks en relevansie van die navorsing; • teoretiese grondslag soos tipe navorsing, aannames en definisies; • formulering van die navorsingsprobleem; • uiteensetting van die metodologie; • stappe in die skepping van die meesterkontrolelys; • styl en aanbieding; en • oorsig van die navorsing. Hoofstuk 2: Teoretiese onderbou bevat die fundamentele literatuurstudie. Primêre teorieë omskryf Anderson en Anderson se teorie oor hoe kykers ‘n rolprent waarneem, sowel as Gerrig en Prentice se teorie oor kykers se onbewustelike deelname aan, en emosionele reaksie op, rolprentstories. Sekondêre teorieë kyk na die volgende: Sielkunde sit Freud se teorie oor menslike gedrag uiteen, sowel as kort teorieë oor menslike houdings, identifikasie met persone, die eienskappe van emosie en die mag, eienskappe en funksies van leiers. Kommunikasiekunde kyk na die gedrag van leiers, besluitneming in kleingroepe en die kommunikasie van openbare waardes in gemeenskappe. Onder empatie in fiksierolprente word Neill se voorwaardes vir empatie met rolprentkarakters uiteengesit. Mitologie dek Campbell se boek The hero with a thousand faces en Vogler se boek The writer’s journey. Draaiboekskryfteorie sit die klassieke dramatiese struktuur, tweedoelwitstruktuur en negebedryfstruktuur uiteen. Inventaris van kontrolelyste dokumenteer alle kontrolelyste vanaf Freeburg (1920) tot Human (2003), sowel as drie dokumente van Amerikaanse rolprentmaatskappye wat gebruik word vir die evaluering van draaiboeke. Inventaris van genre-eienskappe dokumenteer plot-, struktuur- en karakter-eienskappe van alle kommersiële genres, komedie uitgesluit. Hoofstuk 3: Inventaris van strukturele tegnieke lys alle skryftegenieke wat van toepassing is op struktuur. Dit bevat 27 afdelings met opskrifte soos Tipes strukture, Die heldereis en Klimaks en hoofklimaks. Hoofstuk 4: Inventaris van plot- en emosietegnieke lys alle skryftegnieke wat van toepassing is op plot en emosie. Dit bevat 90 afdelings met opskrifte soos Uiteensetting: algemeen, Konfrontasie en Afloop/epiloog/einde. Hoofstuk 5: Inventaris van karaktertegnieke lys alle skryftegnieke wat van toepassing is op karakter. Dit bevat 80 afdelings met opsrifte soos Effektiewe rolprentkarakters, Tipe karakters en Karakterverandering/-ontwikkeling. Hoofstuk 6: Inventaris van dialoog- en diverse tegnieke lys alle skryftegnieke wat van toepassing is op dialoog en diverse elemente. Dit bevat 46 afdelings met opskrifte soos Effektiewe dialoog, Subteks en Begroting. Hoofstuk 7: Die meesterkontrolelys bevat die primêre navorsingsuitset, naamlik ‘n omvattende kontrolelys van 5 550 vrae. Dit is ‘n buigsame instrument wat die draaiboekevalueerder of –skrywer lei deur alle bekende veranderlikes van ‘n storie. Dit is saamgestel uit hoofstukke twee tot ses. Dit bestaan uit vyf makrokontrolelyste: struktuur, plot, emosie, karakters en dialoog, wat elkeen uit ‘n aantal mikrokontrolelyste bestaan. Hoofstuk 8: Samevatting evalueer die beantwoording van die navorsingsvrae, bespreek moontlike gebreke in die navorsing en maak aanbevelings vir verdere navorsing. Laastens volg die bibliografie en bylaes. ABSTRACT (English) The objective of the research is the creation of an extensive checklist for writing and evaluating screenplays. The research covers all traditional commercial genres within motion picture drama, with the exception of comedy. To create the checklist, an attempt was made to identify the sum total of techniques within the discipline of drama scriptwriting. Seven inventories were compiles, namely: existing checklists; genre characteristics; and scriptwriting techniques for structure; plot, emotion; characters; and dialogue&diverse. Information for the thesis was obtained from qualitative research that is both descriptive and prescriptive. The layout and content are as follows: • orientation of the subject; • context and relevance of the research; • theoretical basis, for example type of research, assumptions and definitions; • formulation of the research problem; • explanation of the methodology; • steps in the creation of the master checklist; • style and presentation; and • overview of the research. Chapter 2: Theoretical foundation is an overview of the fundamental literature study. Under Primary theories Anderson and Anderson’s theory on how viewers perceive a motion picture is described as well as Gerrig and Prentice’s theory on the subjective participation of viewers in, and emotional reaction to, motion picture stories. Secondary theories look at the following: Psychology explains Freud’s theories on human behaviour, as well as short theories on human attitudes, identification with people, the characteristics of emotion and the power, characteristics and functions of leaders. Communication science covers the behaviour of leaders, decision-making in small groups and the communication of public values in communities. Empathy in fiction motion pictures explains Neill’s prerequisites for empathy with motion picture characters. Mythology covers Campbell’s book The hero with a thousand faces and Vogler’s book The writer’s journey. Scriptwriting theory explains the classical dramatic structure, the two-goal structure and the nine-act structure. Inventory of checklists documents all checklists from Freeburg (1920) to Human (2003) and also lists three documents used by American motion picture companies to evaluate scripts. Inventory of genre characteristics documents characteristics for plot, structure and character of all commercial genres, excluding comedy. Chapter 3: Inventory of structural techniques list all the writing techniques that are applicable to structure. It contains 27 sections with headings such as Structural types, The hero’s journey, and Climax&main climax. Chapter 4: Inventory of plot and emotion techniques list all the writing techniques that are applicable to plot. It contains 90 sections with headings such as Exposition: general, Confrontation and Denouement/epilogue/end. Chapter 5: Inventory of character techniques list all the writing techniques that is applicable to character. It contains 80 sections with headings such as Effective motion picture characters. Type of characters and Character change/development. Chapter 6: Inventory of dialogue and diverse techniques list all the writing techniques that are applicable to dialogue and diverse elements. It contains 46 sections with headings such as Effective dialogue, Subtext and Budget. Chapter 7: The master checklist contains the primary research output, namely an extensive checklist of 5 550 questions. It is a flexible instrument that leads the script reader or scriptwriter through all known variables in a story. This was compiles from information in chapters two to six. It consists of five macro checklists: structure, plot, emotion, characters and dialogue, each consisting of a number of micro checklists. Chapter 8: Conclusion evaluates the answers to the research questions, discuss possible shortcomings in the research and makes recommendations for further research. Lastly follow the bibliography and addenda. / Thesis (DLitt)--University of Pretoria, 2008. / Afrikaans / unrestricted

This essay examines influencers’ framing of mental illness and how the framing could possibly affect the growing problem of mental illness among Swedish youth. Previous research concerning mental illness among youth, social media and social contagion is presented as a basic understanding of the problem at hand. Approximately 16 000 Instagram posts from Sweden’s most influential Instagram accounts were reviewed for content about mental illness. Posts containing descriptions of mental illness were extracted and analyzed using thematical analysis. The main finding from the thematical analysis was that influencers tended to use The Hero’s Journey dramaturgy in the framing of mental illness. The main conclusion made from the study was that influencer framing of mental health issues, consciously or unconsciously, tended to augment mental illness in a number of ways. The influencers seemed to have developed specializations in different forms of mental illness. The specialized influencer took upon him/herself the role of a mentor to followers experiencing symptoms of the same type of mental illness, leading them on for their own Hero’s Journey. Hence, the mechanisms of The Hero’s Journey were shown to, in themselves, have a tendency to increase the contagious effects of mental illness.

Living in an era where success is embraced as a life style, raises concerns that the alternatives to become, to grow and mature have been limited to a single variety – one where only triumph matters. This is a view that is spread through contemporary popular culture, whether it be in social media, video games, tv-series, films or books. One of its origins can be found in Christopher Vogler’s dramaturgical template The Hero’s Journey. A common motif used in The Hero’s Journey is the Quest-motif; a knight on an adventure seeking the holy Grail; or Indiana Jones on search for the Arch. One of the foremost examples of the Quest-motif in English literature is the medieval poem Sir Gawain and the Green Knight, but the hero in this tale does not come of age through success, but rather through shame and failure. By comparing the original 1400-century alliterative poem Sir Gawain and the Green Knight, with the 2021 film adaption The Green Knight, and relating them to the Hero’s Journey, the aim of this essay is to show that the ways to become are altered in the adaptation and to argue that the film is moulded to fit with the Hero’s Journey. This essay proposes that contemporary story telling lacks alternative ways to become, since modern narrative structures are focused on Coming of Age through success in accordance with the Hero’s Journey. If storytellers can create a greater awareness of the discourse of success and how they themselves are subjects of malleability of this discourse, maybe the contemporary audiences will experience narratives that provide a variety of ways to become, creating a world shaped by diversity and inclusion.

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