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| Aetiology. All myths produced by Indo-European peoples could be understood as originating in symbolic stories, or allegories, about natural phenomena overlaid with human characters. Persephone, Hades explains seasons. |
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| Golden Bough 1911-1915. Divine Kingship and the ritual sacrifice of kings. Worked in a library. |
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| Sociologist. Origin of melanesian myths, while referring to a remote past, drew mwaning from its direct relevance to present social order. |
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| Structuralist approach. Native peoples of north and south america; narratives aim to resolve perceived contradictions in human experience.--dichotomies-life/death; myth raises as many questions as it answers. |
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| Structuralist. Focused on narrative structure... building blocks of Russian folktales. Interdiction, Violation of interdiction, villany, departure from home on a quest, etc. Always appear in the same order. |
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| Psychologist. Ego, conscious mind; personal unconscious; collective unconscious. Anima, animus, shadow, self (ego) |
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| Jungian inner personality, collective unconscious archetype. Anima is female in male; animus, male in female |
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| Jungian archetype. Unconscious aspect that the ego does not recognize in itself, and that a person is not fully aware of. instinctive and irrational. |
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| Psychological approach, primarily Jungian. Hero myth. Comparative mythology. |
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| Hero myth--three main motives |
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| Retreat from the world; Trials and victories of initiation; Return and reintegration. |
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| Campbell, hero, retreat from the world |
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| Call to Adventure, Refusal of the Call, Supernatural Aid, Crossing the First Threshold, In the Belly of the Whale |
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| Campbell, hero, Trials and Victories of Initiation |
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| Road of Trials, Meeting with the GOddess, Woman as Temptress, Atonement with the Father, Apotheosis, Ultimate Boon |
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| Campbell, hero, Return and Reintegration |
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| Refusal and Return, Magic Flight, Rescue from Without, Crossing the Return Threshold, Master of the Two Worlds, Freedom two Live. |
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| French sociologist; social values are the most important, highest values of which we are capable. |
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| myths resonate with permanent features of the human mind or psyche. Freud: Oedipus portrays unconscious feelings of all young males about their parents. For Jung, myths portray primitive archetypes. Hero, wise man, mother, queen, king, father, etc. |
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| Myths have social functions. |
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| The story, the narrative structure, and changes in that structure, are the most important aspect. |
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| Both are communal products, lack identifiable authors, exist in multiple versions. Myths--prescientific, either most or least sophisticated society. Myths typically involve deities, and deal with cosmic issues; folktales deal with social conflict and problems, and tend not to contain gods. |
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| a literary story based on a supposed historical figure or event. |
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| Strauss, smallest possible units of meaning in a myth, analogous to speech units such as phonemes. Set killed Osiris is an example. |
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| According to Campbell, all hero myths are are part of the same monomyth. Monomyth refers to a common pattern system in all myths of the same general type. |
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| repetition in storytelling is a theatrical device used to make a story more memorable, or a portion of it more importnant. |
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| the message and moment of the telling is what is important, the logic and timeline of the story are not, and are therefore ignored, downplayed, or intentionally twisted or removed. |
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| this method of storytelling follows a logical progression |
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| How contradictions in a story are excused by attempting to make-up a logical explanation on the spot. Freudian defense mechanism. |
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| creation; humanity; cosmic disasters; animals and plants; marriage and kinship; cosmic architecture; supernatural beings; heroes and tricksters; body and soul |
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