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<p>In this essay I look at J.M Coetzee’s Disgrace from a rather different perspective. I argue that, despite his less than heroic attributes, David Lurie is the protagonist of an adventure and follows Joseph Campbell’s pattern of the hero’s ditto. Furthermore, the goal of David Lurie’s journey lies in self-realization and self-reinvention, which is not typical for the hero’s journey. The Ultimate Boon is usually something else but different times call for different heroes. In J.M. Coetzee and the Ethics of Reading, Derek Attridge suggests that David Lurie grows on the reader throughout the novel and is a better person at the end (Attridge 183). This indicates that David Lurie goes through a process personally that changes him in a positive direction. Besides Campbell’s theory, the theories of Propp and Stanford are presented and put to good use as theoretical background. Since this essay deals with both narratology and structuralism I provide short explanations of these two branches of literature criticism as presented in Peter Barry’s Beginning Theory. I then discuss relevant passages from Disgrace in connection with the different stages of the hero’s journey as described by Campbell. I do so in the order they are presented in Campbell’s book.</p>

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Submitted by Bruno Navarini Rosa null (b_navarini@hotmail.com) on 2017-11-29T03:41:42Z No. of bitstreams: 1 Relatório Defesa - Bruno Navarini - REVISADO.pdf: 2518606 bytes, checksum: 90f26d55cc4aca0a1509a4d302455023 (MD5) / Approved for entry into archive by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br) on 2017-11-29T10:57:39Z (GMT) No. of bitstreams: 1 rosa_bn_me_bauru.pdf: 2518606 bytes, checksum: 90f26d55cc4aca0a1509a4d302455023 (MD5) / Made available in DSpace on 2017-11-29T10:57:39Z (GMT). No. of bitstreams: 1 rosa_bn_me_bauru.pdf: 2518606 bytes, checksum: 90f26d55cc4aca0a1509a4d302455023 (MD5) Previous issue date: 2017-10-18 / Diante do enquadramento que a mídia atribui aos ídolos esportivos, conferindo-lhes aspectos mitológicos que os transformam em heróis, figuras corajosas o suficiente para adentrar no mundo da aventura, vencer desafios e conquistar dádivas em prol da sociedade, o presente estudo tem por objetivo analisar as narrativas presentes nos documentários “Garrincha, Alegria do Povo” (1963, direção de Joaquim Pedro de Andrade) e “Isto é Pelé” (1974, direção de Luiz Carlos Barreto e Eduardo Escorel). Mais especificamente, pretende estabelecer uma comparação entre as trajetórias dos futebolistas Garrincha e Pelé, retratadas nas referidas obras, e a estrutura da Jornada do Herói de Joseph Campbell, um dos mais renomados estudiosos da mitologia universal. As reflexões propostas visam analisar a possibilidade de enquadramento do atleta no âmbito do mito, o que se dá pela verificação da passagem dos protagonistas pelo núcleo Separação–Iniciação–Retorno do monomito, percurso padrão da aventura mitológica do herói, uma figura predestinada a superar desafios e a realizar feitos grandiosos. / In the face of the media's attribution to sports idols, giving them mythological aspects that transform them into heroes, courageous enough figures to enter the world of adventure, overcome challenges and win gifts in favor of society, the present study aims to analyze the narratives present in the documentaries "Garrincha, hero of the Jungle" (1963, directed by Joaquim Pedro de Andrade) and "This is Pelé" (1974, directed by Luiz Carlos Barreto and Eduardo Escorel). More specifically, it intends to compare the trajectories of the soccer players Garrincha and Pelé, portrayed in the mentioned works, and the structure of the Hero’s Journey of Joseph Campbell, one of the most renowned scholars of universal mythology. The proposed reflections aim to analyze the possibility of framing the athlete within the scope of the myth, which is verified by the verification of the protagonists' passage through the nucleus Separation-Initiation-Return of the monomyth, standard route of the mythological adventure of the hero, a predestined figure to overcome challenges and to perform great deeds.

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Various groups of Mexican culture have assigned to el narco archetypical characteristics of a heroic figure in the literary, visual, and auditory arts. As a result, today’s narcocultura has expanded its tentacles to a vast array of prominent industries, such as publishing companies, the silver screen, and recording studios. El narco is no longer seen by some sectors as the outlaw that stalks our society but, instead, as a hero who fights against a hegemonic faction to reclaim his sovereignty. This thesis unites interdisciplinary observations of the narco phenomena that Mexican culture has assigned to the iconic figure of el narco. The purpose of this work is to recreate the evolutionary development through a theoretical-literary analysis of this prototype in order to better understand Mexican society’s stance on this phenomenon. Octavio Paz’s theory of the Mexican psyche, Joseph Campbell’s theory of the hero’s journey, and an interdisciplinary focus will be employed to analyze this iconic figure. In this thesis, my aim is to investigate how an ultra-conservative Mexican society evolved into a consortium that upholds the narco’s indistinct behaviors and actions. What roles do first world governments and the Mexican state play to fortify, eradicate, or control the narco phenomenon? Finally, which is the most prudent strategy to coexist in a world alongside the narco?

This document explores the relationships between science fiction and mythology, utilizing the theories of Joseph Campbell and Carl Jung in particular. Conclusions are then drawn that argue that science fiction performs the same functions as mythology in the modern world. The author provides examples of these functions being performed in science fiction by analyzing two novels: The Forest of Hands and Teeth, and Stranger in a Strange Land. Finally, the document explores the narratives' uses of time in historical and ahistorical modes as a vehicle for its functions, and argues that the various uses of time are key to science fiction acting as modern mythology. / Master of Arts

Ce travail étudie les rapports que les mythes (considérés du point de vue de la psychologie analytique) entretiennent avec le cinéma et la vidéo, supports devenus, grâce à leurs caractéristiques techniques, discursives et esthétiques propres, des moyens idéaux à l’expression moderne du mythe, lui apportant en même temps de nouvelles possibilités de construction ainsi que des dynamiques nouvelles. En comparant d’une part, la conception du mythe chez Carl Gustav Jung, Joseph Campbell et autres auteurs, et d’autre part, les techniques et structures cinématographiques, on montre que le mythe continue de se produire de nos jours au sein de notre société tout en se métamorphosant et en se nourrissant des possibilités qu’offre le cinéma. Les outils et techniques cinématographiques, de par leurs caractéristiques, amplifient les traits caractéristiques fondamentaux du mythe, donnant lieu à des dynamiques particulières entre cinéma et mythe. Les médias audiovisuels diffusent un nombre important de productions que l’on appellera ici cinéma-mythe. Par la comparaison parallèle de la structure cinématographique et les techniques audiovisuelles d’une part, et de la structure du monomythe (Campbell) d’autre part, il est montré que les caractéristiques inhérentes au cinéma et à la vidéo rendent ceux-ci des moyens idéaux à l’élaboration du mythe. Le schéma narratif du mythe, selon Jung et Campbell, s’exprime essentiellement au travers du signe, qui fuit la pure appréhension intellectuelle. Ce sont les rapports entre les signes qui déterminent le discours et le message du mythe. / This thesis analyses the relationship between myths (according to analytical psychology), films and video, cinematographic forms who became the ideal medium of modern myth expression due to their technical, aesthetical and discursive characteristics. This relationship allows new dynamics and construction possibilities in cinema and myth.By comparing Carl Gustav Jung’s and Joseph Campbell’s conception of myth and cinematographic techniques and structures, it is shown that myth production goes on nowadays, in our society, nourished and metamorphosed through cinema possibilities. Cinematographic techniques and tools, by their characteristics, magnify myth’s essential elements, allowing particular dynamics between myth and film. Audiovisual productions feature some examples of what we should call cine-myth.By comparing cinematographic structures and techniques, and monomyth’s structure (Campbell), it is shown that inherent characteristics about cinema and video make them ideal mediums for myth creation. According to Jung and Campbell, the narrative schema of myth is essentially expressed through symbol, who is not merely reduced to intellectual understanding. The relationships between symbols create the message and meaning of myth.

The thesis explores how elemental architecture in collaboration with the Shield can manifest a threshold condition in which a modern day hero myth can be enacted in the Canadian wilderness. Through the lens of Joseph Campbell, Tom Thomson and the archetypal structures of the Finns and Algonkians, a design proposal is derived for a Waterway Park in the Algonquin region that expands the mandate of the Ontario Parks System. In the realm of psychology, Carl Gustav Jung defines individuation as a universal quest that encourages facing and overcoming ones internal demons in order to live a more integrated existence. Located in Oxtongue River Ragged Falls Provincial Park, this proposed experimental pilgrimage retreat connects a series of primary and secondary paths to cabins, a sweat lodge and a chapel. This model illustrates a method of inhabiting a protected wilderness site that can be applied to existing and future Parks to inspire a condition of corporeal and spiritual rejuvenation in Ontario’s near North.

The thesis explores how elemental architecture in collaboration with the Shield can manifest a threshold condition in which a modern day hero myth can be enacted in the Canadian wilderness. Through the lens of Joseph Campbell, Tom Thomson and the archetypal structures of the Finns and Algonkians, a design proposal is derived for a Waterway Park in the Algonquin region that expands the mandate of the Ontario Parks System. In the realm of psychology, Carl Gustav Jung defines individuation as a universal quest that encourages facing and overcoming ones internal demons in order to live a more integrated existence. Located in Oxtongue River Ragged Falls Provincial Park, this proposed experimental pilgrimage retreat connects a series of primary and secondary paths to cabins, a sweat lodge and a chapel. This model illustrates a method of inhabiting a protected wilderness site that can be applied to existing and future Parks to inspire a condition of corporeal and spiritual rejuvenation in Ontario’s near North.