15, one aspect of literature is its elements of recurrence in imagery and conventional actions. 16, rituals of conventional actions and that imitate natures cycle are organizing rhythms and patterns. These patterns represent the fulfillment of desire and the obstacles. Because the same sovereign God Who is ruling the affairs of men is also ruling the acts of the natural world, these cycles are rooted in a divine reality beyond the natural world. There is a continual interpenetration of the supernatural into the earthly order, and God is a continual actor in human affairs. One effect of this is that life becomes filled with meaning, since every event takes on spiritual significance. 18, this coincides with Fryes analysis of the imagery and cyclical elements of story. In short, the setting and details of Ruth are pregnant with meaning.
The, writer's journey: Mythic Structure for Writers
7, ruth, in particular, displays artistry in the poetic prose of different speeches (i.e. Ruths vow to naomi in 1:16-17 8 in word-play such as assonance and punning, 9 and in the design of the story with its inclusios (i.e. Ruths return from boaz with grain in symmetrical scenes and contrasts (i.e. The general disobedience of Israel characteristic of the time of the judges seen specifically in naomis family abandoning the promised land contrasted with Ruths loyalty to naomi and God in times of trouble; empty verses full; resume helpless versus provided for and protected; resume death versus life). Plot Structure, the universal monomyth contains four elements: romance and anti-romance, tragedy and comedy. These categories are evident in Old Testament stories: In classical literature, and in the literature of the Old Testament itself, the existence of pregeneric monomyth plot structure is not only evident, but is intrinsically necessary to the development of that literature. 11, ruth, as a romance, displays the fulfillment of desire and, as a comedy, the upward movement from the unideal to the ideal. The book displays typical virtuous, beautiful ideals, villains that threaten the heroines ascent and final achievement of the victory of fertility over the wasteland of a comedy-romance. 12, the final society reached at the end is the one that the audience has recognized all along to be the proper and desirable state of affairs. 13, as a comic plot, the protagonist encounters obstacles but eventually overcomes them through faith and/or divine intervention. 14, its story is meant to inspire, challenge, and encourage.
Human experience is presented in such a way as to express, whether explicitly or by implication, a world view. Finally, literature is an interpretive presentation of experience in an artistic form. That is, the content of a work of literature is presented in the form of a novel, play, short story, poem, and so forthA working definition of literature, then, is that it is an interpretive presentation of experience in an artistic form. 4, in seeking to analyze resume the story of Ruth and naomi according to its literary genre, this paper traces the plot and character elements in structures evident in early mythological writings as well as modern movies. 5, in so doing, this paper will employ literary form and structure to analyze ruth and its elements. The hebrew short story uses an artistic and elevated prose containing rhythmic elements which are poetic, takes an interest in typical people, and seeks to both entertain and instruct. 6, especially important: they look at ordinary events as being the scene of Gods subtly providential activity. Fun and delight, pathos and violence, characterize the human portrayals; combined with the subtle divine dimension, the total effect is one of joy and seriousness together.
The artistic beauty of the bible exists for the readers enjoyment and artistic enrichment. To ignore this aspect of biblical literature is to distort the bible as a written document. 3, the book of Ruth, as a story, deserves to be treated as literature in its study. On defining literature, leland ryken observes that. Literature does not, for example, discourse about virtue but instead shows a virtuous person acting. We might say that literature does not tell about characters plan and actions and concepts but presents characters in action. Literature not only presents experience but interprets. The writer of literature selects and molds his material according to discernible viewpoints.
Vogler, but asked interesting questions, which provided a live dialogue. Both the Old Testament and the new Testament use various forms to communicate, including story, music, and homiletics. Each of these forms deserves to be analyzed according to their genre. Since both the Old and New Testaments are largely written in story form, narrative is the essence of biblical revelation That makes understanding narrative essential for all interpreters of the bible. 1, a literary approach is fundamental to understanding the bible because many of the parts of the bible are in literary form. In doing so, it is necessary to trace the action in terms of plot: Correct interpretation of narratives depends in part on an appreciation of the plot as it marks out the beginning, middle, and end of both single and complex patterns and an appreciation. 2, further, the literary approach is able to appropriately appreciate the artistry of the bible.
Joseph Campbell and the hero's journey
Christopher Vogler refined Campbells model and adapted it for the cinema in his book the Writers journey: Mythic Structure for Writers, which became a guide for screenwriters all over the world. As a consultant, vogler worked with major studious, took part in the work on the script for The Wrestler, Black Swan, The lion King, fight Club, Thin Red Line. At the meeting at vgik he spoke about his concept of storytelling, and noted that he had been inspired not only by the works of Campbell, but by those of Syd field and Vladimir Propp as well. Vogler tested his ideas on the disney movies. He advised the young screenwriters to study psychology thoroughly: Knowledge of psychology proves helpful when creating a character and working with the actor.
The master stressed the need for the contact with the audience: box every viewer must feel that this story is about him too. Christopher Vogler urged the students to be attentive to their feelings and body reactions (goosebumps, tears etc.) while watching a movie and listening to the music. Study your body, observe how it reacts to terrible or beautiful things. The filmmaker said that the story is not good enough if it does not make us laugh or cry. Christopher Vogler made about a point of creating a negative or positive character, which should cause sympathy. Students did not only listen.
Coda vogler's work has been both criticized and acclaimed. Whilst some say there is nothing new in his writings and recommend the earlier Campbell's 'hero's journey' or Propp's Morphology of the folk tale, others praise vogler for his clarification, simplification and placing of classic patterns into the modern genre. See also campbell's 'hero's journey' vogler, Christopher (1992). The Writer's journey: Mythic Structure for Storytellers and Screenwriters. Studio city,.: Michael wiese Productions. On november, 21 st Christopher Vogler gave his first master-class in Moscow.
It was held at vgik, during the 33 rd vgik international Film Festival. Before the master-class. Vogler had been greeted. Popov, vgik-debut Company ceo and. Tursunova, head of the International Affairs Department who expressed gratitude for his consent to speak to the students and share his reach experience. Vogler studied filmmaking at the usc school of Cinema-television, the alma mater of george lucas. Like lucas, he was inspired by the writings of mythologist Joseph Campbell, particularly by his book the hero with a thousand Faces, and Voglers theory about a journey that makes the protagonist of any story is based mostly on this research.
The hero (and Heroine)s, journey., jordan McCollum
Setting out home is reverse echo of healthy crossing the threshold in setting out on the adventure. In contrast to the earlier anticipation of danger, the anticipation now is of acclaim and rest. The Climax / Resurrection. The story has one last trick up its sleeve now, having lulled its audience into a false sense of security, as one last challenge faces the hero. Perhaps the villain was not completely vanquished or perhaps there are other people in need on the way back - whichever way, we are again plunged into another climactic event, just when we thought it was safe to breath easy again. In ancient stories, the hero has to be purified before return. After the toil of the journey and the ordeal, they are formally reborn into a new and beautiful form. Return with the Elixir, finally, the hero returns to the hero's welcome, gives the treasure to the proper recipient and receives their just reward, whether it is the hand of the princess, the acclaim of the people or simply a well-deserved rest. In this final part, all tensions are resolved and all unanswered questions answered, leaving the reader of the story satisfied and replete.
The Crisis / Supreme Ordeal. At last the hero must face their deepest fears, typically in battle with the dark villain. This is the ultimate test that the hero takes, where the real story perhaps is the inner battle whereby the hero overcomes their own demons in facing up to the enemy outside. As observers, we feel scared for the hero and may be terrified that they might fail or die. In so doing we also face and, with the hero, overcomes our own inner fears. Seizing brown the reward, in defeating the enemy, the hero is transformed into a new state where fears are vanquished and the new fearless person is born. The reward in the story may be gaining new knowledge, a treasure or rescuing a princess, but the inner reward is in the personal growth that is achieved. The road Back, after the story has reached it main peak, the transformed hero sets out home again. Having gained the treasure they are have no need for more adventure and nothing left to prove and so set out back home again.
defeat a lesser person. In this way the hero's character is both highlighted and developed. Now bonded to the hero, we feel a vicarious sense of pleasure as these challenges are met. Approaching the Inmost cave, at last the final destination lays ahead and the hero, battered but wiser from their trials along the way must prepare for the ultimate test. In ancient legend, a typical 'innermost cave' is the land of the dead or a labyrinth. It is the lair of the dread enemy where no help may be found and only deep courage will win through. Another threshold must be crossed here to enter the dragons' den of the innermost cave. We swallow hard, as does the hero, at the thought of what might go wrong. To approach the innermost cave is to face death and still. This pause helps show the hero as still human and helps build the story tension before the high point of the story.
Thus the challenge is set, to defeat the enemy, solve the murder or win the heart of the other person. Refusal of the call, the hero may well balk at the thought of the task ahead, perhaps refusing the challenge or having second thoughts. The problem seems to much to handle and the comfort of home seems more attractive than the rough wilderness or dangerous streets. This would be our own response and we thus bond further with the reluctant hero. The mentor appears to help the hero prepare for the road eksempel ahead. Thus Gandalf, Obi-wan Kenobi and a host of other wise and experienced people teach the hero the skills they need and give them critical knowledge to help them survive. Crossing the Threshold, eventually the hero is ready to act and crosses the threshold, often literally as they leave the family homestead on their journey into the unknown. Act 2, in which the main action happens as the hero survives the road and achieves their goal.
Author : m, project Gutenberg
Disciplines storytelling plots vogler's Story Structure, act 1, act. Act 3, see also, chris Vogler took joseph's Campbell's 'hero's journey' structure and revised it as below. Act 1, in which the offer the scene is set and the hero sets out. The story starts in the ordinary world where the hero is going about everyday existence, oblivious of the adventures to come. This anchors the hero as a human, just like you and me, and hence we can associate our selves with the hero. Call to Adventure, the hero is next presented with a wrong done, a problem or challenge which they feel they must resolve. Thus the king calls for someone to save the realm from a marauding enemy, a private detective has a client bring a difficult case to them or an attractive other person is spotted in a bar.