LA CARLOTA CITY COLLEGE

City of La Carlota
-o0o-
Teacher Education Department

English 30
Module 1
1st Semester, AY 2021-2022

I. COURSE TITLE: English 30 (Mythology and Folklore)

II. NUMBER OF UNITS: 3 units

III. COURSE DESCRIPTION:

This course presents mythology and folklore from different countries to gain
insights into people’s origin, desires, fears, instincts, and needs.

IV. COURSE OUTCOMES:

At the end of this semester, the students can;

1. Describe the nature of Myth and Folklore, their characteristics, elements, purposes
and/or motifs
2. Describe the cultural and historical effects of mythological warrior women on the
treatment of women in ancient Greek,
Norse, and Celtic society.
3. Describe the cultural and historical importance of heroes and heroines.
4. Describe the symbolic nature of animals, their roles as portrayed in myths and
legends.
5. Make a reaction vlog of the chosen myth and folklore indicating its influences until
today’s generation.

1
V. COURSE OUTLINE

A. PRELIM
Module 1. Introduction to Mythology & Folklore
Module 2. Warrior Women
Module 3. The Heroic Monomyth in Mythology and Folklore

Introduction to Mythology & Folklore

Module 1

I. What is Myth?

"Myth" refers to colorful stories that tell about the origins of humans and the cosmos.
Attitudes towards myth vary greatly. Some regard it as a source of spiritual growth, while
others see only falsehood. Some see in myth the distinct character of particular cultures, while
others see universal patterns. Some regard myth as "contemporary" and "alive", while others
think of it as "ancient" and/or "dead."
Gregory Schrempp, Indiana University

From the Greek mythos, myth means story or word. Mythology is the study of myth.
As stories (or narratives), myths articulate how characters undergo or enact  an ordered
sequence of events. The term myth has come to refer to a certain genre (or category) of stories
that share characteristics that make this genre distinctly different from other genres of oral
narratives, such as legends and folktales. Many definitions of myth repeat similar general
aspects of the genre and may be summarized thus: Myths are symbolic tales of the distant past
(often primordial times) that concern cosmogony and cosmology (the origin and nature of the
universe), may be connected to belief systems or rituals, and may serve to direct social action
and values.

The classic definition of myth from folklore studies finds clearest delineation in William
Bascom’s article “The Forms of Folklore: Prose Narratives” where myths are defined as tales
believed as true, usually sacred, set in the distant past or other worlds or parts of the world,
and with extra-human, inhuman, or heroic characters. Such myths, often described as
“cosmogonic,” or “origin” myths, function to provide order or cosmology, based on “cosmic”
from the Greek kosmos meaning order (Leeming 1990, 3, 13; Bascom, 1965). Cosmology’s concern
with the order of the universe finds narrative, symbolic expression in myths, which thus often
help establish important values or aspects of a culture’s worldview.  For many people, myths
remain value-laden discourse that explain much about human nature.

2
There are a number of general conceptual frameworks involved in definitions of myth,
including these:

1. Myths are Cosmogonic Narratives, connected with the Foundation or Origin of the
Universe (and key beings within that universe), though often specifically in terms of a
particular culture or region. Given the connection to origins, the setting is typically
primordial (the beginning of time) and characters are proto-human or deific. Myths also
often have cosmogonic overtones even when not fully cosmogonic, for instance dealing
with origins of important elements of the culture (food, medicine, ceremonies, etc.).
2. Myths are Narratives of a Sacred Nature, often connected with some Ritual. Myths are
often foundational or key narratives associated with religions. These narratives are
believed to be true from within the associated faith system (though sometimes that truth
is understood to be metaphorical rather than literal). Within any given culture there may
be sacred and secular myths coexisting.
3. Myths are Narratives Formative or Reflective of Social Order or Values within a Culture
(e.g. functionalism).
4. Myths are Narratives Representative of a Particular Epistemology or  Way of
Understanding Nature and Organizing Thought. For example, structuralism recognizes
paired bundles of opposites (or dualities -- like light and dark) as central to myths.
5. Mythic Narratives often involve heroic characters (possibly proto-humans, super
humans, or gods) who mediate inherent, troubling dualities, reconcile us to our realities,
or establish the patterns for life as we know it.
6. Myths are Narratives that are "Counter-Factual in featuring actors and actions that
confound the conventions of routine experience" (McDowell, 80).

Characteristics of Myths

Given the cautions (above) about how much the definition of myth has been debated and
written about, take the following characteristics of myth in the spirit in which they are intended:
general guidelines gleaned from what many people have noticed as often being true of myths.
Remember these characteristics are neither absolute nor all-encompassing.

1. A story that is or was considered a true explanation of the natural world (and how it came to
be).

2. Characters are often non-human – e.g. gods, goddesses, supernatural beings, first people.

3. Setting is a previous proto-world (somewhat like this one but also different).

4. Plot may involve interplay between worlds (this world and previous or original world).

5. Depicts events that bend or break natural laws (reflective of connection to previous world).

6. Cosmogonic/metaphysical explanation of universe (formative of worldview).

7. Functional: “Charter for social action” – conveys how to live: assumptions, values, core
meanings of individuals, families, communities.

3
8. Evokes the presence of Mystery, the Unknown (has a “sacred” tinge).

9. Reflective and formative of basic structures (dualities: light/dark, good/bad,

being/nothingness, raw/cooked, etc.) that we must reconcile. Dualities often mediated by
characters in myths.

10. Common theme: language helps order the world (cosmos); thus, includes many lists, names,
etc.

11. Metaphoric, narrative consideration/explanation of “ontology” (study of being). Myths seek

to answer, “Why are we here?” “Who are we?” “What is our purpose?” etc. – life’s fundamental
questions.

12. Sometimes: the narrative aspect of a significant ritual (core narrative of most important
religious practices of society; fundamentally connected to belief system; sometimes the source of
rituals)

Do myths have to be SACRED?

Definitions of myth are gleaned from over a century of collection and classification of tales,
beginning with the Grimm brothers, who believed, “Divinities form the core of all mythology”
(1882-83, xvi-xvii). Myths are distinguished from other commonly collected narratives such as
folktales and legends. Myths were defined as stories of ancient times believed to be true.

Malinowski added that they must be sacred, and discussed how they serve society as a charter
for action. Many great social theorists from the 19th and early 20th centuries (Freud, Frazer,
Muller, Jung, etc.) used myths (usually collected by others) as evidence of their universal truths.
Many fieldworkers like Lévi-Strauss, Franz Boas (and his students), and Dell Hymes used
deductive methods in analyzing myths.

More recent scholars, like William Hansen, argue that the sacred element of myths is a recent
attachment to definitions (perhaps beginning with the Grimms and then solidified by
Malinowski). But in his studies of ancient Greek myths, Hansen notes that NOT all myths had a
sacred element. They were not necessarily connected to religious beliefs, but were often secular
stories.

While myths do not have to have a sacred element, they DO appear to share a world-forming,
or worldview-forming function.

The Three Types of Myth

There are actually many different types of myth, not just three. In fact, there are several entire
theories of myth. The theoretical study of myth is very complex; many books have been written
about theories of myth, and we could have an entire class just on theories of myth (without
studying any of the myths themselves). The problem with theories of myth, however, is that
they are not very good; they don’t do a great job of explaining the myths or in helping us
understand them. Furthermore, the myths themselves are much more interesting than the
theories. For this reason, this textbook will not say very much about the theories of myth. But

4
we don’t want to ignore the theoretical study of myth entirely, so we will limit ourselves to
discussing only three types of myth.

1. Aetiological Myths

Aetiological myths (sometimes spelled etiological) explain the reason why something is the
way it is today. The word aetiological is from the Greek word aetion (αἴτιον) meaning “reason”
or “explanation”. Please note that the reasons given in an aetiological myth are NOT the real (or
scientific) reasons. They are explanations that have meaning for us as human beings. There are
three subtypes of aetiological myths: natural, etymological, and religious.

a. A natural aetiological myth explains an aspect of nature. For example, you could
explain lightning and thunder by saying that Zeus is angry.
b. An etymological aetiological myth explains the origin of a word. (Etymology is the
study of word origins.) For example, you could explain the name of the goddess,
Aphrodite, by saying that she was born in sea-foam, since aphros is the Greek word for
sea-foam.
c. A religious aetiological myth explains the origin of a religious ritual. For example, you
could explain the Greek religious ritual of the Eleusinian Mysteries by saying that they
originated when the Greek goddess, Demeter, came down to the city of Eleusis and
taught the people how to worship her.

All three of these explanations are not true: Zeus’ anger is not the correct explanation for
lightning and thunder; Aphrodite’s name was not actually derived from the Greek word aphros;
and Demeter did not establish her own religious rituals in the town of Eleusis. Rather, all of
these explanations had meaning for the ancient Greeks, who told them in order to help them
understand their world.

2. Historical Myths

Historical myths are told about a historical event, and they help keep the memory of that
event alive. Ironically, in historical myths, the accuracy is lost but meaning is gained. The myths
about the Trojan War, including the Iliad and the Odyssey, could be classified as historical
myths. The Trojan War did occur, but the famous characters that we know from the Iliad and the
Odyssey (Agamemnon, Achilles, Hector, etc.) probably did not exist.

3. Psychological Myths

Psychological myths try to explain why we feel and act the way we do. A psychological
myth is different from an aetiological myth because a psychological myth does not try to explain
one thing by way of something else (such as lightning and thunder can be explained by Zeus’
anger). In a psychological myth, the emotion itself is seen as a divine force, coming from the
outside, that can directly influence a person’s emotions. For example, the goddess, Aphrodite,
is sometimes seen as the power of erotic love. When someone said or did something that they
did not want to do, the ancient Greeks might say that Aphrodite “made them” do it.

5
What is Folktale?

Characteristics of Folktales
1. Folktales are usually about ordinary people and everyday life.
2. The stories include setting, characters, and a problem.
3. The characters are often flat, representing one particular trait such as cleverness.
4. Hyperbole is always found in tall tales.

Common Folktale Motifs:

1. wishes granted
2. a monster
3. magical objects
4. use of trickery
5. a poor person becomes rich
6. the number three is significant
7. the youngest or smallest of siblings is successful after others in the family fail
8. a variety of unwise characters

The Folktale Formula:

1. The plot begins quickly.
2. Characters are one-sided.
3. Plots move along well-trod paths.
4. All questions are answered before the story ends.

Types of Folktales:
1. tales of talking animals (fables)
2. tales that tell why ("pourqoui")
3. tales of magic (fairy tales)
4. cumulative tales
5. tales of exaggeration or legendary tales (tall tales)

The Most Common Types of Folklore

Folklore encompasses such a broad range of beliefs, traditions, and stories that any
attempt to make systematic order of it is bound to fall short. What follows is a representative
survey of some of the most common types of folklore, from ancient myths and legends to jokes,
riddles, and more.

1. Ballads
A ballad is a traditional poem or folk song that tells a story. It may describe a true love, a heroic
adventure, a scandal, or a tragic death, to name just a few of the most common subjects.
Historical examples of ballads date back to the Middle Ages. The form is one way for important
cultural narratives to be preserved and passed down to future generations.

2. Fairy Tales

6
Fairy tales are traditional stories, intended primarily for children, which recount human
encounters with supernatural beings such as fairies, witches, ogres, and the like, often
conveying a cautionary message. Many such tales were compiled by the Brothers Grimm in the
19th century. In the modern era, fairy tales have served as the basis for many Disney movies.

3. Folk Art
Folk art—as opposed to fine art—comprises a range of artistic productions and crafts. Examples
of folk art include paintings, sculptures, quilts, pottery, and furniture created by ordinary,
unschooled artists using traditional styles and methods, and often employing imagery or
symbolism from local mythology.

4. Folk Dance
A folk dance (or ethnic dance) is any dance invented by the common people of a particular
region or culture that has been handed down through tradition. Folk dances are usually
performed at social gatherings by people who have learned the dances informally.

5. Folk Songs
Folk songs are traditional songs, anonymously composed and handed down orally, about
commonplace topics such as work, family, community, and everyday life. They may address
social or political issues and they may take the form of ballads, love songs, or novelty songs.
Folk songs are usually played on acoustic instruments.

6. Jokes
A joke is a humorous story or anecdote meant to provoke laughter through irony, wordplay, the
thwarting of expectations, the juxtaposition of images, or other techniques.

7. Legends
A legend is a traditional historical tale or collection of related tales popularly regarded as true
but usually containing a mixture of fact and fiction. They may explain an event or provide a
moral lesson. Sometimes legends contain fantastical elements or embellishments that are highly
improbably or outright false.

8. Myths
A myth is a traditional story, usually featuring gods and heroes, which purports to give a
cosmic explanation of a natural phenomenon or cultural practice. Myths are part of a
community's cultural fabric, conveying essential (if not literal) truth and influencing other
stories and beliefs.

9. Riddles
A riddle is a linguistic puzzle posed in the form of a question containing clues to its solution. It's
a form of verbal play and popular with children.

10. Superstitions

7
A superstition is an irrational belief (i.e., one held in spite of evidence to the contrary), usually
involving supernatural forces and associated with rituals. A superstition may conflict with a
person's religious beliefs, or lack thereof, while still exerting a powerful influence on them.

11. Urban Legends

An urban legend is an apocryphal story, often taking the form of a cautionary tale, which varies
in the telling but is always told as true and attributed to a secondhand or third-hand ("friend of
a friend") source. Today, many urban legends are spread anonymously on the internet.

For further understanding about this module, kindly access this link,
https://www.youtube.com/watch?v=ilIhWatZpAo

Woman Warriors: Roles of Women Throughout the Ages of Literature

Module 2

8
Initial Task:
Directions: Poem Writing. What do you think is her two most important roles in your life? Take
a picture of her showing her roles, paste it inside the box including your poem. It must be
composed of 4 stanzas with 4 lines each.

(picture) (Use the back page if necessary.)

Greek Mythology

Women in Greek mythology were perceived to be more as sexual objects than

individuals. Many were taken advantage of by the Gods and by human beings. One would see
that women’s rights were very limited and they were not allowed to express much of their
freedoms. Within this time period, women were blamed for wars, destruction of towns, and the
death of men. It was not unlikely to see goddesses using their powers for vengeance. Although
the role of human women was limited the existence of goddesses attributed great amounts of
power to female characters.

Key notes:
● The world of the Greeks mainly composed of pleasing and worshipping the Gods.
Goddesses played a key role whether they portrayed strength, wisdom, beauty, or
music. From well-known Gods like Athena to those of Medusa.
● Helen of Troy was maybe the most influential female character of all the Greek myths.
Though her strength was only limited to that of beauty, Homer created the Iliad because
of her. Helen caused a ten-year war between Athens and Sparta allowing for the creation of
stories such as the Trojan War, as well as the Odyssey, which is found in the Iliad.
Helen’s character showed what Greek men would do for beauty and women.

Major Greek Goddesses

9
1. Gaea is Mother Earth. She is from whom everything comes, and she is not only a
divinity, she is Earth. She bore the Titans as well as monsters like the hundred-armed
men, and some of the Cyclopes - others were sons of Poseidon. She was the daughter of
Chaos. She was a primeval goddess, born along with creation itself, and had a large role
in the population of the world. She was primarily spoken of as a Mother of other Gods,
rather than having her own myths. Still, she's a major player in the myths of the
succession of the King of Kings.

2. Hestia was the eldest of the 12 Olympian Gods and the eldest daughter of Rhea & Cronus.
When she began her role as a Goddess, she had a throne of her own in Olympus, but
when Dionysus grew into Godhood, she willingly gave up her throne to him, choosing
the hearth as an alternative. She is the Goddess of Hearth and Home and also one of the Three
Virgin Goddesses. Her symbol was kept in every house, and whenever a child was born
the parents had to carry the child around the symbol before he or she could be accepted
in the family.

3. Demeter was another daughter of Rhea and Cronus. She was the Goddess of the Harvest or
the Goddess of the Fields. Centuries ago, Greeks used to break bread in the name of
Demeter as well as drink wine to Dionysus. Sound familiar? Demeter was the mother of
Persephone and that was one mother-daughter team you shouldn't try to mess around
with. When Hades did, Demeter threw the earth into an eternal winter and let nothing
grow until someone helped her find her child. Together, Demeter and Persephone were
central to the Eleusian Mysteries.

4. Hera is most well known for being the wife of Zeus and the Queen of the Gods. She was also
the youngest daughter of Rhea and Cronus. Her bird is the peacock, and in almost every
myth she is portrayed as being maliciously jealous. But it must also be remembered that
she was the Protector of Marriage. It is believed by some scholars that she earned her bad
reputation by being combined with a similar Phoenician goddess. This scholar, however,
thinks that the role of the shrewish wife was one has been pretty institutionalized in
patriarchal cultures. Construct a culture so that women's only access to legitimate power
is through a faithful relationship to a powerful husband, and you'll get a culture full of
women who guard their only assets fiercely.

5. Athena was the Patron Goddess of Athens, the Goddess of Wisdom, and the Goddess of
Weaving. She was a warrior - which is why she's so often shown with a spear and a
shield (with Medusa's head on it and armor) and another of the three virgin goddesses
(in addition to Hestia and Artemis). Her father was Zeus. Technically her mother was
Metis (Goddess of Prudence), but it is generally accepted that she had no mother.

6. Artemis is the Goddess of the Hunt. She had 50 hounds and 50 Draiads (wood nymphs) and a
quiver full of painless silver arrows. Along with her twin brother Apollo, she was the
daughter of Zeus and Leto as well as being "youngest" of the three maiden goddesses (in
addition to Hestia and Athena). Artemis didn't carry the moon across the sky, but being
a moon goddess was definitely part of her identity. Stunningly beautiful, she swore never

10
to marry - this is not a coincidence! She was the Protector of Young Women as well as a
midwife. She was incredibly cool for a lot of reasons, but my favorite is that her worship
ranged from very dark (human sacrifice) to personal (virgins dedicated her their lingerie
on the night they married) to just fun (women dressing up like a bear and dancing).

7. Aphrodite was the Goddess of Love and Beauty. Oh, and the patron of prostitutes. The myth
of her birth has a couple of versions. The most well-known today has her springing from
the blood of Uranus after Cronus castrated him, and floating on the sea to Greece, where
she was met by the Three Graces. You know, the whole clamshell thing. She was married
to Hephaestus, the Smith God, but she slept with Ares, the War God. Her "no work"
policy may make her seem like a ditz, but this lady had power in plenty.

8. Persephone was special. She was the daughter of Demeter, and called Kore which simply
means Maiden. As such, she was the Goddess of Spring. One day, as she was out picking
flowers, Hades, the God of the Underworld, abducted her, raped her, and made her
Queen of the Underworld. In that role she has often been described as a cold and
unhappy goddess. Some have described her as the Light link between the Underworld
and Earth as opposed to Hecate.

Medieval Literature

The women of the Medieval times were surprisingly a lot more candid and sexual than
one might expect of an era where the ideal of femininity was Mary, the mother of Jesus. In
actuality, the women in the literature of the period, as well as the historical female figures
seemed to be torn between the ideal and the physical desires and domineering character that
her antagonist, Eve, embodies. In a careful reading of the literature of the time, one finds the
first buds of a feminist literature emerging from the words on the pages.

Throughout the Medieval period, women were viewed as second class citizens, and their
needs always were an afterthought. They were either held to be completely deceitful, sexual,
innocent, or incompetent. Therefore, women were mostly withheld from positions of power or
speaking their voice; males made decisions for them, and their lives were dictated by the men
that ran the society. Despite their lack of validation and suppression, however, women in
Medieval literature were certainly present in many works and in various forms. Some tropes
feed into the idea that women are subservient and inferior to men such as the Virgin, which
portrays females as passive and weak, or the mother whose very life circles around making a
better life for her family and especially for her husband, or even the whore who has no power in
her sexuality and must give it away for the wellbeing of her family or the men in society.
However, there are some archetypes that break this cycle like the Trickster or Witch who break
the social norms and stand out, displaying qualities of cunning intelligence, intimidation, and
power. The sections below will dive deeper into the disparity between how women were
viewed in Medieval society and how they were portrayed in the literature of the time.

“The Virgin”

11
Perhaps the most common, and most positively looked upon character trope to be
affiliated with women in literature is “The Virgin”. According to the majority of early literature,
women’s primary function was to remain “pure” until they are wed and then permitted to produce
children. If an unwed woman were to appear in literature back in Medieval times, she would
almost indefinitely be made into a virtuous, pure woman.

Like many tropes in literature, this character ideology originated in The Bible. Saint
Mary, the mother of Jesus Christ, also called The Virgin Mary, is the first notable person recorded
with this all-around encompassing identity. St. Mary took a vow of virginity and remained faithful
to it her entire life, despite giving birth to a child. Mary was so pure of character that her
pregnancy was an immaculate conception. The angel Gabriel came to her and told her she
would bear the son of God. St. Mary lived her life completely within the parameters of being a
perfect Christian woman. It is her life and her behavior that created this “ideal” religious
woman.

“The Mother”

Throughout the Medieval Period, women’s most important role was that of a mother or child
bearer, whether she was rich or poor, children were her first priority. Women’s role in society
was often compared to that which is written in the Bible. Real life women were subservient and
oppressed due to the fact that the Bible dictated they should be that way and religion was so
closely adhered to.

Medieval literature often represents women in very distinct lights, and most of them are
not very becoming. While the light may not always be a good one, there is always a light
shining on women, as they are usually central to the story. The role of a mother is often
necessary, but often seen as the subservient, protective-from-afar character that classified a real-life
medieval woman.

In the epic poem, Beowulf, Grendel’s mother exemplifies a different type of

protectiveness. While she does take on a more masculine role, she is simply conforming to the
society that she is placed in the way other mothers in medieval literature abide by all of
society’s rules. “She does demonstrate an awareness and acceptance of a code of honor when
she seeks revenge for the death of her son.

“The Witch”

Witches are women who possesses knowledge and power. Depending on when in history
the witch is living in, she could either be an important member of society, or she could live at
risk of being drowned or burned alive. During the heyday of the witch hunts, any women who
is different than the societal expectation of a women would be at risk of being tried as a witch.
Because of this fear of those who are different, witches are often viewed as villainous people.

Witches have been an inspiration in literature for hundreds of years, whether they are
just characters, or are the inspiration for a whole literary piece. Witches do not only appear in

12
epic tales but in the Bible as well (this is one of the many instances of Pagan and Christian
ideologies influencing each other). In the Bible, those who practice witchcraft, or magic of any
variety are seen as sinners who are worthy of death.

During a time when there were no doctors, no clean water, or hospitals, witches were
expected to help those with diseases that have no known cure. These women were helping to move
medical knowledge forward from the Greek ideas of the balancing of the humors. But once
witches were being blamed for the problems in people’s lives, and the church encouraged the
prosecution of witches, the definition of who was a witch broadened to anyone who worked
with herbs to find a cure. It has been said that “those who used herbs for cures did so only
through a pact with the Devil, either explicit or implicit”, this fear of women with intelligence
and power put a stall on medical advancements.

“The Whore”

Upon the many character tropes to be associated with, when discussing Medieval
literature, “The Whore” is probably the most negative. In the Middle Ages, Women were widely
considered lower than men, thus not worthy of performing the same task or activities that men
typically did.

“The Trickster”

As Lisa Perfetti states, “Tricksters and pranksters are among the most common
characters of Medieval comic literature”. Within this literature, women commonly assume the
trickster trope, which has its roots in The Old Testament of the Bible. The archetype formed in
response to the actions of Eve, who committed the first sin in eating the fruit of knowledge, and
“convinced” Adam to do the same. When confronted by God, Adam recalls, “The woman
whom you gave to be with me, she gave me the fruit from the tree, and I ate”.

Elizabethan Literature

The theme of misogyny and superiority of men was the typical genre that authors took
within their writing. Women were not looked to as a person but were considered a mere necessity
for the procreation process. Women continued to be split between the ideal of the Virgin Mary, and
her fallible counterpart, Eve. Unfortunately, the Virgin Mary was one of a kind, so there was
often a general distrust of women. This distrust of women leads to most works degrading the
female race, and terming females as the "other", which was to be feared. Equality between the
sexes was not present within this era, and is evident from the numerous writings degrading the
female race.

Role of Women in Elizabethan Times

Women and Education

Wealthy

13
● Wealthy women were allowed education
● Wealthy women were tutored at home
● They were taught in Latin, Italian, Greek and French
● Dancing and Music skills were essential
● Women were not allowed to go to university

Middle Class/Poor

● Did not attend school

● Did not receive formal education
● Had to learn to govern a household
● Had to become skilled in housewife duties
● Learned only what needed to be known in order to marry

Marriage

● Elizabethan women were expected to marry

● People were suspicious with single women
● Single women were often associated with witches
● Elizabethan women are supposed to be dependent of their male relative throughout
their entire life
● Marriage was desirable for lower class women
● With parental permission, it is legal for girls at 12 years of age to marry

The Role of Unmarried Women

● Single women could spend their life in a convent or a nunnery

● It was eventually no longer an option
● Thus, the only other option was domestic service

The Role of Women in Marriage

● Women were expected to bring a dowry (i.e. a small amount of money, goods and
property) to the marriage
● After marriage, women were expected to run households and provide children
● Large families were normal
● High mortality rates (i.e. death of infants under 1 years old) at that time
● Many women made arrangements for others to take care of their child in case they pass
away during childbirth.
● Women were believed to be inferior to men
● Women were totally dominated by male members of the family
● They were expected to obey the father, brother, uncle, and any other male member of the
family.
● The punishment for disobedience was a beating. It was seen as sin to disobey the male
member of the family.

20th Century Literature

14
Women’s roles in literature has evolved throughout history and had lead women to
develop into strong independent roles. Modern literature has served as an outlet and sounding
board for women’s rights and feminist pioneers. Female writers have come to the fore front and
provided today’s readers with a vast array of ethnic and cultural perspectives. The unique voice
of female minorities is a common theme in many coming of age novels that allows each writer
to establish a separate identity for their characters and themselves. Women in modern literature
often include strong independent females juxtaposed by oppressed women to provide examples
for young female readers and to critique short comings of our society. The emergence of the
independent female novelist in America has allowed for a new evolution of the role of women
in fictional literature.

Nearly 500 years later, the beginning of the 20th century saw changes in pretty much
every part of the daily lives of women, from the private to the public sphere. The development
of women, with its accentuation on the promotion of equal rights, recently shaped women
associations, and the ascent of female artists and experts changed the conventional
male-dominant social structure over the globe. The approach of World War I had an effect on
these social movements. They had started towards the early 1900s and grew further as women
were impelled into the workforce, presenting them to previously patriarchal proficiency. By the
mid-20th century, women's concerns and activities had been perceived as a critical component
of the literary umbrella of a few nations, denoting a progressive change in the domestic as well
as social roles of women.

Most working-class women did not really have another option but to work in this period of
time, to sustain their families. Women did not have high paying jobs because they did not have
access to higher education. These women were allowed to work in factories doing things like
stitching shoes and creating nails. Indeed, even men who apparently supported women, factory
owners who utilized them in new sorts of occupations and misused the women they procured;
they were anxious to utilize ladies just as a method for diminishing wages. This also created a
change in the writing styles of women. It seemed like there was more voice in these works.
Women had decided that it was time to speak up and they wrote about it, in the form of prose
and poems. This was also a period of time where capitalism was on the rise. There were many
women that wanted to voice their opinions during this era, but were shut down because their
voice would not really play a role in what the society thinks.

1. Complete the table below.

Period Role of women Agree? Disagree?

1
2
3
4

15
2. Choose two periods and then compare and contrast (Venn diagram)

3. Exit activity

3 things I realized 2 things I don’t like 1 thing I want to change

about the roles of women

4. Output

Choose 1 myth or folktale that women take a great part in the story. Paste an excerpt of that with
your analyses/reflection

Separate paper

Give format

The Heroic Monomyth in Mythology and Folklore

Module 3

Ever notice that many stories seem to have a similar pattern? There’s always a
protagonist who goes on an adventure, makes new friends, encounters roadblocks, fights a bad

16
guy, and returns home a changed person. In fact, we can sum it up for you in two words: Hero’s
Journey.

This story structure is as old as time. From Theseus and the Minotaur to The Lion King,
so many narratives follow this pattern that it’s ingrained in our cultural DNA today. In this
post, we'll show you how to make this classic plot structure work for you — and recap it all in a
neat infographic. Ready to answer the call of adventure? Let’s cross the barrier.

What is the Hero’s Journey archetype?

The Hero's Journey is a classic story structure that's shared by stories worldwide. Coined
by academic Joseph Campbell in 1949, it refers to a wide-ranging category of tales in which a
character ventures out to get what they need, faces conflict, and ultimately triumphs over
adversity.

Here are the three stages of the hero’s journey:

● The Departure Act: The Hero leaves the Ordinary World.

● The Initiation Act: The Hero ventures into unknown territory (the " Special World ") and
is birthed into a true champion through various trials and challenges.
● The Return Act: The Hero returns in triumph.

The Hero's Journey is a model for both plot points and character development: as the Hero
traverses the world, they'll undergo inner and outer transformation at each stage of the journey.
The 12 steps of the hero's journey are...

1. Ordinary World

In which we meet our Hero.

The journey has yet to start. Before our Hero discovers a strange new world, we must first
understand the status quo: their ordinary, mundane reality.

It’s up to this opening leg to set the stage, introducing the Hero to readers. Importantly, it lets
readers identify with the Hero as a “normal” person in a “normal” setting, before the journey
begins.

Example of the Ordinary World:

In the opening of Rocky, Rocky Balboa is introduced as a mediocre boxer and loan collector —
just doing his best to live day-to-day in a poor part of Philadelphia.

2. Call to Adventure

In which an adventure starts.

The call to adventure is all about booting the Hero out of their comfort zone. In this stage, they
are generally confronted with a problem or challenge they can't ignore. This catalyst can take
many forms, as Campbell points out in Hero with a Thousand Faces. The Hero can, for instance:

17
● Decide to go forth of their own volition, i.e. Theseus upon arriving in Athens,
● Be sent abroad by a benign or malignant agent, i.e. Odysseus setting off on his ship in
The Odyssey,
● Stumble upon the adventure as a result of a mere blunder, i.e. Dorothy when she’s swept
up in a tornado in The Wizard of Oz,
● Be casually strolling when some passing phenomenon catches the wandering eye and
lures one away from the frequented paths of man, i.e. Elliot in E.T. upon discovering a
lost alien in the tool shed.

The stakes of the adventure and the Hero's goals become clear. The only question: will he rise to
the challenge?

Example of the Call to Adventure:

Apollo Creed, the undisputed World Heavyweight Champion, decides to make a big fight
interesting by giving a no-name a chance to challenge him. Intrigued by the nickname, “The
Italian Stallion,” he rings Rocky up.

3. Refusal of the Call

In which the Hero digs in their feet.

Great, so the Hero’s received their summons. Now they’re all set to be whisked off to defeat
evil, right?

Not so fast. The Hero might first refuse the call to action. It’s risky and there are perils — like
spiders, trolls, or perhaps a creepy uncle waiting back at Pride Rock. It’s enough to give anyone
pause.

In Star Wars, for instance, Luke Skywalker initially refuses to join Obi-Wan on his mission to
rescue the princess. It’s only when he discovers that his aunt and uncle have been killed by
storm troopers that he changes his mind.

Example of the Refusal of the Call:

Rocky says, “Thanks, but no thanks,” to Creed’s invitation. He’s reluctant, given that he has no
trainer and is incredibly out of shape.

4. Meeting the Mentor

In which the Hero acquires a personal trainer.

The Hero's decided to go on the adventure — but they’re not ready to spread their wings yet.
They're much too inexperienced at this point and we don't want them to do a fabulous
belly-flop off the cliff.

Enter the mentor: someone who helps the Hero, so that they don't make a total fool of
themselves (or get themselves killed). The mentor provides practical training, profound
wisdom, a kick up the posterior, or something abstract like grit and self-confidence.

18
Wise old wizards seem to like being mentors. But mentors take many forms, from witches to
hermits and suburban karate instructors. They might literally give weapons to prepare for the
trials ahead, like Q in the James Bond series. Or perhaps the mentor is an object, such as a map.
In all cases, they prepare the Hero for the next step.

Example of Meeting the Mentor:

In steps former boxer Mickey “Mighty Mick” Goldmill, who sees potential in Rocky and starts
training him physically and mentally for the fight.

5. Crossing the First Threshold

In which the Hero enters the other world in earnest.

Now the Hero is ready — and committed — to the journey. This marks the end of the Departure
stage and is when the adventure really kicks into the next gear. As Vogler writes: “This is the
moment that the balloon goes up, the ship sails, the romance begins, the wagon gets rolling.”

From this point on, there’s no turning back.

Like our Hero, you should think of this stage as a checkpoint for your story. Pause and re-assess
your bearings before you continue into unfamiliar territory. Have you:

● Launched the central conflict? If not, here’s a post on types of conflict to help you out.
● Established the theme of your book? If not, check out this post that’s all about creating
theme and motifs.
● Made headway into your character development? If not, this character profile template
and these character development exercises may be useful.

Example of Crossing the First Threshold:

Rocky fully accepts the gauntlet to square up when he crosses the threshold into his love
interest Adrian’s house and asks her out on a date.

6. Tests, Allies, Enemies

In which the Hero faces new challenges and gets a squad.

When we step into the Special World, we notice a definite shift. The Hero might be
discombobulated by this unfamiliar reality and its new rules. This is generally one of the longest
stages in the story, as our protagonist gets to grips with this new world.

This makes a prime hunting ground for the series of tests to pass! Luckily, there are many ways
for the Hero to get into trouble:

In Jumanji: Welcome to the Jungle, Spencer, Bethany, “Fridge,” and Martha get off to a bad start
when they bump into a herd of bloodthirsty hippos.

In his first few months at Hogwarts, Harry Potter manages to fight a troll, almost fall from a
broomstick and die, and get horribly lost in the Forbidden Forest.

19
Marlin and Dory encounter three “reformed” sharks, get shocked by jellyfish, and are
swallowed by a blue whale en route to finding Nemo.

This stage often expands the cast of characters. Once the protagonist is in the Special World, he
will meet allies and enemies — or foes that turn out to be friends, and vice versa. He will learn a
new set of rules from them. Saloons and seedy bars are popular places for these transactions, as
Vogler points out (so long as the Hero survives them).

Example of Tests, Allies, Enemies:

Rocky continues to try and win over Adrian while making a dubious friend in Paulie.

7. Approach to the Inmost Cave

In which the Hero gets closer to his goal.

This isn’t a physical cave. Instead, the “inmost cave” refers to the most dangerous spot in the
other realm — whether that’s the villain’s chambers, the lair of the fearsome dragon, or the
Death Star. Almost always, it is where the ultimate goal of the quest is located.

Note that the protagonist hasn’t entered the Inmost Cave just yet. This stage is all about the
approach to it. It covers all the prep work that's needed in order to defeat the villain.

Example of the Approach to the Inmost Cave:

The Inmost Cave in Rocky is Rocky’s own mind. He fears that he’ll never amount to anything —
something that he reveals when he butts heads with his trainer, Mickey, in his apartment.

8. Ordeal

In which the Hero faces his biggest test of all thus far.

Of all the tests the Hero has faced, none have made them hit rock bottom — until now. Vogler
describes this phase as a “black moment.” Campbell refers to it as the “belly of the whale.” Both
indicate some grim news for the Hero.

The protagonist must now confront their greatest fear. If they survive it, they will emerge
transformed. This is a critical moment in the story, as Vogler explains that it will “inform every
decision that the Hero makes from this point forward.”

The Ordeal is sometimes not the climax of the story. There’s more to come. But you can think of
it as the main event of the second act — the one in which the Hero actually earns the title of
“Hero.”

Example of the Ordeal:

20
The start of the training montage marks the beginning of Rocky’s Ordeal. He pushes through it
until he glimpses hope ahead while running up the museum steps.

9. Reward (Seizing the Sword)

In which the Hero sees light at the end of the tunnel.

Our Hero’s been through a lot. However, the fruits of their labor are now at hand — if they can
just reach out and grab them! The “reward” is the object or knowledge the Hero has fought
throughout the entire journey to hold.

Once the protagonist has it in their possession, it generally has greater ramifications for the
story. Vogler offers a few examples of it in action:

Luke rescues Princess Leia and captures the plans of the Death Star — keys to defeating Darth
Vader.

Dorothy escapes from the Wicked Witch’s castle with the broomstick and the ruby slippers —
keys to getting back home.

Example of the Reward (Seizing the Sword):

Rocky’s reward is the return of his faith in himself. He regains the self-esteem to realize that he
has the stuff to take on Apollo Creed — win or lose.

10. The Road Back

In which the light at the end of the tunnel might be a little further than the Hero thought.

The story's not over just yet, as this phase marks the beginning of Act Three. Now that he's
seized the reward, the Hero tries to return to the Ordinary World, but more dangers
(inconveniently) arise on the road back from the Inmost Cave.

More precisely, the Hero must deal with the consequences and aftermath of the previous act: the
dragon, enraged by the Hero who’s just stolen a treasure from under his nose, starts the hunt.
Or perhaps the opposing army gathers to pursue the Hero across a crowded battlefield. All
further obstacles for the Hero, who must face them down before they can return home.

Example of the Road Back:

On New Year’s Day, the fight between Rocky and Creed is held. Rocky realizes the challenge
that lies before him in the first few rounds, in which both men are more or less equally matched.

11. Resurrection

In which the last test is met.

Here is the true climax of the story. Everything that happened prior to this stage culminates in a
crowning test for the Hero, as the Dark Side gets one last chance to triumph over the Hero.

Vogler refers to this as a “final exam” for the Hero — they must be “tested once more to see if
they have really learned the lessons of the Ordeal.” It’s in this Final Battle that the protagonist
goes through one more “resurrection.” As a result, this is where you’ll get most of your

21
miraculous near-death escapes, à la James Bond's dashing deliverances. If the Hero survives,
they can start looking forward to a sweet ending.

Example of the Resurrection:

Rocky’s knocked down more than a few times as the fight continues. The entire fight winds up
lasting 15 rounds and takes both men to the brink of exhaustion.

12. Return with the Elixir

In which our Hero has a triumphant homecoming.

Finally, the Hero gets to return home. However, they go back a different person than when they
started out: they’ve grown and matured as a result of the journey they’ve taken.

But we’ve got to see them bring home the bacon, right? That’s why the protagonist must return
with the “Elixir,” or the prize won during the journey, whether that’s an object or knowledge
and insight gained.

Of course, it’s possible for a story to end on an Elixir-less note — but then the Hero would be
doomed to repeat the entire adventure.

Example of the Return with the Elixir:

Rocky doesn’t win the fight — but he doesn’t care. He’s won back his confidence and beaten his
mental demons. And he’s got Adrian, who tell him that she loves him.

22