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UNIT 6:

UNIT 6:. We Could Be Heroes. d ifferent heroes…. 3 DIFFERENT TYPES OF HEROES THIS UNIT WILL EXAMINE: . d ifferent heroes…. TRAGIC, EPIC, AND MYTHOLOGICAL. TRAGIC HERO. A Tragic Hero based off of Aristotle’s concept. A tragic hero represents a generally good person but one who

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UNIT 6:

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  1. UNIT 6: We Could Be Heroes

  2. different heroes… 3 DIFFERENT TYPES OF HEROES THIS UNIT WILL EXAMINE:

  3. different heroes… TRAGIC, EPIC, AND MYTHOLOGICAL

  4. TRAGIC HERO A Tragic Hero based off of Aristotle’s concept. A tragic hero represents a generally good person but one who through the course of the narrative falls from grace. Tragic Heroes require a tragic flaw and a tragic downfall. The text emphasizes and highlights this flaw and fall to show a theme.

  5. TRAGIC HERO For example: Brutus or Caesar from Shakespeare’s Julius Caesar

  6. epiC / LeGENDARY HERO An epic hero is a larger than life figure from an epic (poem), usually favored by or even partially descended from deities, but aligned more closely with mortal figures in popular portrayals. The epic hero illustrates traits, performs deeds, and exemplifies certain morals that are valued by the society from which the epic originates. Epic heroes are seen as superhuman in that they are smarter, stronger, and braver than average humans. An epic hero can also be a warrior of some sort who performs extraordinary tasks that most find difficult.

  7. epiC / LeGENDARY HERO For example: King Arthur

  8. Mytholigical HERO The myth is an anonymous story or group of stories some prose others poetry formed from religious beliefs and high heroics. Mythological heroes must be present in myths, confront mythological beasts, and become mythological in turn.

  9. Hero’s quest : 12 Stages

  10. 1: ordinary world • Where audience gets to know the main character before his/her journey begins • Audience sympathizes/ relates to character • Character has strengths/ flaws • There is a problem that disrupts the character in his/her Ordinary World

  11. 1: ordinary world

  12. 2: call to adventure • Presents a quest or challenge for the hero • Gives stakes involved if the hero fails to meet the challenge • Sometimes it takes multiple “calls” before the hero accepts the challenge

  13. 2: call to adventure

  14. 3: refusal of the call • Refuses the call b/c of fears and insecurities that arise in the call to adventure • Hero isn’t willing to change and wants to stay in his/her ordinary, comfortable world • Shows the risk involved in the journey

  15. 4: meeting the mentor • The hero meets a mentor to gain confidence, insights, training, or special gifts needed to overcome initial fears associated with the adventure • The Mentor has survived the journey and can provide lessons about what he/she learned • The Mentor can be: a person, object (like a map, logbook, or hieroglyphics)

  16. 4: meeting the mentor

  17. 5: crossing the threshold • Moving from the Ordinary World to the Special World • Often, the hero must confront an event before entering the Special World and can’t go back after entering • The Event reestablishes the Central Dramatic Question that moves the story forward • The Event forces action and raises the stakes

  18. 5: crossing the threshold • An outside force pushes the hero forward • A chase may push the hero to the brink • Internal forces may push the hero to accept his/ her Special World

  19. 6: tests, enemies, allies • Confronts tests, enemies, and allies in his/her Special World • This “test stage” is the audience’s first encounter with the Special World and contrasts the Ordinary World • There may be a rival to the hero • Hero must prepare him/herself for greater challenges to come • May seek additional help from mentor

  20. 6: tests, enemies, allies

  21. 7: approach central cave • Hero prepares to approach the central ordeal • Review Maps, plan attacks, and possibly whittle down the Enemy’s forces, before the Hero can face his greatest fear or the supreme danger lurking in the Special World. • Hero may take a break before facing the Ordeal • Stakes may be heightened • as the Approach nears • (clock ticking, etc)

  22. 7: approach central cave

  23. 8: the ordeal • The Hero engages in the Ordeal, the central life-or-death crisis, during which he faces his greatest fear, confronts his most difficult challenge, and experiences “death”. • Only through “death” can the Hero be reborn, experiencing a resurrection that grants greater powers or insight to see the Journey to the end. • The Hero may directly taste death, or witness the death of an Ally or Mentor or, even worse, directly cause that death.

  24. 8: the ordeal

  25. 9: the reward • Once the hero makes it through the “ordeal” his/her reward comes: a magical sword, an elixir, greater knowledge or insight, reconciliation with a lover. • Hero celebrates and • renews his/her energy

  26. 9: the reward

  27. 10: the road block • The Hero must recommit to completing the Journey and accept the Road Back to the Ordinary World • May be difficult for the hero to return to ordinary world, but there is often an event that pushes him/her back

  28. 11: the resurrection • Resurrection: the hero’s most dangerous meeting with death. The final life-and-death Ordeal shows that the Hero has maintained and can apply all that he has brought back to the Ordinary World. • The Hero is reborn or transformed with the attributes of his Ordinary self in addition to the lessons and insights from the characters that he has met along the road. • Other Allies may come to the last-minute rescue to lend assistance, but in the end the Hero must rise to the sacrifice at hand.

  29. 11: the resurrection

  30. 12: the return with the elixir • The final Reward earned on the Hero’s Journey. • Hero has been resurrected, purified and has earned the right to be accepted back into the Ordinary World and share the Elixir of the Journey • Even the tragic end of a Hero’s Journey can yield the best Elixir of all, granting the audience greater awareness of us and our world

  31. 12: the return with the elixir • The Return signals a time when we distribute rewards and punishments, or celebrate the Journey’s end with revelry or marriage. • In most tales, the Return with the Elixir completes the cycle of this particular Journey. Story lines have been resolved, balance has been restored to the Ordinary World, and the Hero may now embark on a new life, forever influenced by the Journey travelled.

  32. 12: the return with the elixir

  33. the FIRST ONE WE WILL STUDY?

  34. ANTIGONE by Sophocles

  35. Greek Drama

  36. Greek drama was performed at annual festivals in honor of Dionysos – • the god of wine and fertility. • Greek tragedies like Antigoneoften revolved around well-known myths and heroic legends

  37. Greek plays were performed in outdoor amphitheaters • Actors wore masks that reflected the personalities of their characters

  38. The chorus was integral in Greek drama, though its role varied depending on the play. The chorus often provided commentary on the action of the play and did so in a lyric chant. In Antigone, the chorus represents thepeople of the town where the story takes place

  39. sophocles • He wrote Antigone as a part of a trilogy of plays that centered around the legend of Oedipus • It is believed that Sophocles wrote Antigonein approximately 422 B.C.

  40. The Story of Oedipus Cool story, bro

  41. The legend of Oedipus was a famous story with which the Greek people were already familiar. The famous psychological term “Oedipus Complex” was coined because of this story . The setting of this story is the city of Thebes

  42. It all starts when an oracle (fortune teller) tells King Laius and Queen Jocasta of Thebes that their newborn son will one day kill his father and marry his mother

  43. Frightened by this prophecy, Laiuspierces the baby’s feet and gives him to a shepherd to abandon in the mountains

  44. A merciful man, the shepherd instead decides to give the baby to a friend, but does not reveal his identity

  45. This friend, a servant of the King of Corinth, in turn gives the baby to the king and his wife; they name the boy Oedipus (“Swollen Foot”) and raise him as their sonidentity

  46. As a young man, Oedipus begins to hear rumors that the King is not his real father.So, he consults an oracle and is told about his destinyScared of what he is told, Oedipus flees Corinth in an effort to avoid his fate

  47. A monster, the Sphinx, is tormenting the town, and King Laius has left the city to find out how to get rid of her. On his way out of the city, Laius has an ironic encounter with Oedipus who just so happens to be traveling towards Thebes.

  48. With each feeling that he has the “right of way” on the road, the men begin to argue and a bad case of “chariot rage” ensues. When Laius strikes Oedipus, Oedipus retaliates by killing him – and unknowingly, the first part of his terrible prophecy comes true

  49. As he continues down the road after his encounter with Laius, Oedipus comes upon the gate of Thebes. When the Sphinx dares Oedipus to answer her riddle (the only way to rid the city of her), he answers it correctly and she dies The riddle is: What walks on 4 legs in the morning, 2 legs at noon, and 3 legs in the evening?

  50. The people of Thebes consequently see Oedipus as a hero, and they offer Oedipus a position as king (along with the hand of their recently widowed queen in marriage)

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