HUMAN 105H, Spring, 2013
Dr. Harnett
Week 6 Class Notes, page 1
Monday, March 25, 2013
Announcements:
 I will grade and return Exam 1.2 ASAP. See me if you missed it.
 Tour of Hsi Lai Buddhist Temple in Hacienda Heights. They serve
Buddhist vegetarian lunch at 11:30 and then conduct a tour that lasts
about an hour or so after the lunch. Allow from 10:30 (leaving GCC) until
about 3:00 (return to GCC) at the most. There is a donation for the lunch-$8 or $9, depending on the size of our group. When To Go: Tuesday,
April 16, during Spring Break. Does this work for most of you?
 Other?
Begin Unit 2 today: Focus on Hero Myths. First, there is the play The
Grapes of Wrath that we saw yesterday. See me if you did not attend it. The play
will form the basis of the Unit 2 Paper, an analysis of the play in terms of The 12
Stages of the Hero’s Journey and 2 of the other 4 readings from the unit (one of
the articles, one of the stories). This week, we begin the unit by looking at two
readings about the power of myth in general in daily life.
Activity: Look in the readings and find specific examples to answer each
question, noting the page numbers where you find them. Write answers briefly
but clearly, explaining as clearly as possible.
 Kottak, "Disney Myth and Ritual" (Reader 85-92)
1. Terms to define:
 The prefix quasi-, as in quasi-religious and quasi-mythological
 Mediating figures
 Liminal
 Anima, the root of the word animation, for one
 Totem
 enculturative
2. How are Disney creations and the theme parks similar to myth and
religious pilgrimages? Be as specific as possible and give examples.
o
o Other examples, not necessarily in Kottak?

3. What aspects of a pilgrimage to a real religious shrine are similar to
recreational activities?
4. Are recreation and religion so separate? Discuss connections and
differentiating factors.
Continued on next page
HUMAN 105H, Spring, 2013
Dr. Harnett
Week 6 Class Notes, page 2
Bettelheim, "The Child's Need for Magic" (Reader 104-111)
1. What is animism, and how does it apply to children?
2. What does the example of the comet at school suggest?
3. What are the consequences of not encouraging fantasy among children?
4. What do children look for and need when they hear stories?
[allow about 15 minutes] Having read and discussed some main ideas from these
two readings, now consider these questions:
1. How important and relevant is myth to us? In other words, why are we
attracted to made-up or true stories, particularly those about heroes?
Explain your answer as completely as possible, including fundamental
concepts involved, from your point of view.
2. What are the qualities of a hero? List the most important of these.
3. Give some examples of great movies or stories that you have enjoyed.
Which of the qualities of a hero are present?
4. What kinds or types of characters tend to be involved in heroic stories?
The obvious answer is Hero, e.g., Superman. What other kinds of
characters are there? Make a list, briefly describe each one, and give a
clear example of each.
5. Chart the basic phases of plot development of a hero story, perhaps one
of the examples for #3 above, working from the observation that these
stories tend to follow fairly similar patterns. How does the story begin,
progress, and end?
Gilgamesh, Tablets I- VI, available at
http://www.ancienttexts.org/library/mesopotamian/gilgamesh/ As you have
probably seen, there are several places in which the story is fragmented, lost, or
garbled. Parts of the story get a little racy or graphic, too.
Note about the Epic of Gilgamesh: “The fullest surviving version of the Epic
is derived from twelve stone tablets, in the Akkadian language, found in the ruins
of the library of Ashurbanipal, king of Assyria 668-627 B.C. at Nineveh. The
library was destroyed by the Persians in 2612 B.P. [Before Present, meaning
before 1950, the year that radiocarbon dating began], and all the tablets are
damaged. The tablets actually name the author, Shin-eqi-unninni; such naming
very rare in the ancient world. This is the oldest known human author we can
name!” Continued
HUMAN 105H, Spring, 2013
Dr. Harnett
Week 6 Class Notes, page 3
 Questions about Tablets I-VI: Discuss and write notes of answers.
Be prepared to respond when I call on you.
1. Tablet I: What is the purpose of the opening commentary on the
impressive walls of Uruk, then an account of the achievements of
Gilgamesh?
2. What complaints do the people of Uruk have about Gilgamesh, complaints
which are also clarified by Enkidu?
3. Describe Enkidu, including how he was created.
4. What does the Harlot of Shamhat seem to represent, based on descriptions
of her in Tablet I?
5. Describe Gilgamesh’s mother and her function in Tablet I.
6. What is the significance of the dreams in Tablet I, such as the one about
the meteorite and the one in which Enkidu is represented as an axe?
7. Tablet II: What is Shamhat’s function in Tablet II?
8. How does the conflict between Enkidu and Gilgamesh begin and then
resolve?
9. What challenging task involving the Cedar and Humbaba will Gilgamesh
undertake?
10. Tablet III: What is the role of Ninsun, Gilgamesh’s mother, in Tablet III?
HUMAN 105H, Spring, 2013
Dr. Harnett
Week 6 Class Notes, page 4
11. Why does the Cedar need to be dealt with?
12. What’s Enkidu’s role as Gilgamesh undertakes his challenge in Tablet III?
13. Tablet IV: What do the dreams signify before Gilgamesh and Enkidu reach
the evergreen forest?
14. Tablet V: What is Humbaba’s curse?
15. What is Enkidu’s role in Tablet V?
16. What is the outcome of the encounter with Humbaba?
17. What is the Cedar Tree used for by Gilgamesh? What is its significance?
18.Tablet VI: What is Ishtar’s desire (at first) and problem (after that)?
19. What does Ishtar do after Gilgamesh presents the catalogue of her lovers,
etc.? What happens to Young Men of Uruk?
20.
What happens to Enkidu at the hands of the Bull of Heaven, and
how do he and Gilgamesh resolve this problem?
21. What is the symbolic significance of the Bull of Heaven?
For Next Time: Read Gilgamesh, Tablets VII-XI
http://www.ancienttexts.org/library/mesopotamian/gilgamesh/ and prepare
Annotations—about 1 (or more) fact and accompanying insight for all 11 tablets
Wednesday, March 27, 2013
Announcements:
Annotations on all 11 tablets of Gilgamesh due.
Discussion Questions:
22.
Tablet VII: What is Enkido’s dream at the beginning of Tablet VII?
How does Gilgamesh react to the dream? What does Gilgamesh promise
Enkidu?
23.
Name the 3 curses that Enkidu speaks.
24.
What is Shamash’s response to these curses, and how does Enkidu
react?
25.
What more of his dream does Enkidu share with Gilgamesh?
26.
How does Enkidu’s condition change toward the end of Tablet VII,
and how does Gilgamesh react to this?
27.
Tablet VIII: Summarize the many things that Gilgamesh says to
Enkidu as Tablet VIII begins.
28.
What does Gilgamesh say to the Elders of Uruk, and what has
happened by the time he has said it?
29.
What does Gilgamesh call for several artisans to do right away?
30.
Explain Gilgamesh’s prayer to Enkidu, and how Gilgamesh honors
Enkidu.
31. Tablet IX: As Gilgamesh roams and cries, what is his main fear and
thought?
32.
What do the Scorpion beings know about Gilgamesh’s divinity?
HUMAN 105H, Spring, 2013
Dr. Harnett
Week 6 Class Notes, page 5
33.
What does Gilgamesh seek by travelling so far past Mt. Mashu, for
whom is he looking to ask about it?
34.
What does the passage through Mount Mashu (a tunnel?)
represent? (Define league:_____.)
35.
Tablet X: What do the encounters with the tavern-keeper Siduri,
the ferryman Urshanabi, and Gilgamesh’s ancestor Utanapishtim show
about Gilgamesh, his fear, and his resolve?
36.
Urshanabi helps Gilgamesh to _____ and ____, and they both
approach Utanapishtim, who enjoys this status:_____.
37.
What is Utanapishtim’s advice on life and death to Gilgamesh?
38.
Tablet XI: The Story of the Flood. In his story of the Flood,
Utanapishtim has to build a _____ and put _____ on it because
______.
39.
Shamash provides _____ for Utanapishtim and the others during
the Flood, which starts when the land ____, causing fear among even the
gods and the lovable woman ______, who “shrieked lik a woman in
childbirth.”
40.
The Flood lasts this long:____, and after it ends, all humans left on
land were ____. On the last day of the Flood, Utanapishtim sends out
these:_______.
41. Enlil is enraged by the fact that Utanapishtim survives the Flood, because
Enlil _____, but after wise counsel from Ea and other gods, Enlil does
this for Utanapishtim and his wife:_______.
42.
Back in the “present,” Utanapishtim’s wife prepares _____ and
sets them by Gilgamesh’s head. These things, in various stages of decay,
might represent ____.
43.
Gilgamesh is comforted by Utanapishtim and brought by Urshanabi
to a place where he can _____. As Gilgamesh and Urshanabi leave for
home, Utanapishtim tells Gilgamesh about a _______ that he can take
back “with honor.” This hidden thing, which is in this place:______, has
this name:___________, and has this power:________.
44.
What takes this thing away from Gilgamesh?
45. After arriving back at Uruk, Gilgamesh has Urshanabi examine the
______.
46. Has Gilgamesh achieved immortality?
Compare and contrast meanings and messages of Gilgamesh to this poem:
“Ozymandias” by Percy Bysshe Shelley, 1792-1822
I MET a Traveler from an antique land,
Who said, "Two vast and trunkless legs of stone
Stand in the desart. Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read,
Which yet survive, stamped on these lifeless things,
The hand that mocked them and the heart that fed:
HUMAN 105H, Spring, 2013
Dr. Harnett
Week 6 Class Notes, page 6
And on the pedestal these words appear:
"My name is OZYMANDIAS, King of Kings."
Look on my works, ye Mighty, and despair!
No thing beside remains. Round the decay
Of that Colossal Wreck, boundless and bare,
The lone and level sands stretch far away.
1818
Some additional information that might be useful:
 Joseph Campbell, the scholar who developed a lot of the ideas
about stories, and also created The Hero’s Journey: General and
biographical information at http://www.jcf.org/new/index.php
Also: Bill Moyers interview with Campbell at
http://www.mythsdreamssymbols.com/herojourney.html
Note the importance of symbols in this and other hero stories. Note also the
connection between symbols and archetypes.
Definitions:
Symbol:
Archetype:
 Information about Hero Myths: See “Ageless Wisdom and the Hero’s
Journey in Story and Myth” at
http://www.divineparadox.com/Arts/archetypes_on_the_path.
htm (shown below too)
o The Seven Archetypes (from Vogler):
1 Hero: "The Hero is the protagonist or central character, whose primary
purpose is to separate from the ordinary world and sacrifice himself for the
service of the Journey at hand - to answer the challenge, complete the quest
and restore the Ordinary World's balance. We experience the Journey
through the eyes of the Hero."
2 Mentor: "The Mentor provides motivation, insights and training to help the
Hero."
3 Threshold Guardian: "Threshold Guardians protect the Special World and
its secrets from the Hero, and provide essential tests to prove a Hero's
commitment and worth."
4
Herald: "Herald characters issue challenges and announce the coming of
significant change. They can make their appearance anytime during a Journey,
but often appear at the beginning of the Journey to announce a Call to
Adventure. A character may wear the Herald's mask to make an announcement
or judgment, report a news flash, or simply deliver a message."
5
Shapeshifter: "The Shapeshifter's mask misleads the Hero by hiding a
character's intentions and loyalties."
6
Shadow: "The Shadow can represent our darkest desires, our untapped
resources, or even rejected qualities. It can also symbolize our greatest fears and
phobias. Shadows may not be all bad, and may reveal admirable, even redeeming
qualities. The Hero's enemies and villains often wear the Shadow mask. This
HUMAN 105H, Spring, 2013
Dr. Harnett
Week 6 Class Notes, page 7
physical force is determined to destroy the Hero and his cause."
7
Trickster: "Tricksters relish the disruption of the status quo, turning the
Ordinary World into chaos with their quick turns of phrase and physical antics.
Although they may not change during the course of their Journeys, their world
and its inhabitants are transformed by their antics. The Trickster uses laughter
[and ridicule] to make characters see the absurdity of the situation, and perhaps
force a change."
The Twelve Stages of the Hero’s Journey (from Vogler):
1 Ordinary World: "The Hero's home, the safe haven upon which the Special
World and the Journey's outcome must be compared." The Journey begins in
the Ordinary World, travels to the Special World, and returns to the Ordinary
World.
2 Call to Adventure: The Call to Adventure sets the story rolling by
disrupting the comfort of the Hero's Ordinary World, presenting a challenge
or quest that must be undertaken.
3 Refusal of the Call: "A Hero often refuses [or is reluctant] to take on the
Journey because of fears and insecurities that have surfaced from the Call to
Adventure. The Hero may not be willing to make changes, preferring the safe
haven of the Ordinary World. This becomes an essential stage that
communicates the risks involved in the Journey that lies ahead. Without
risks and danger or the likelihood of failure, the audience will not be
compelled to be a part of the Hero's Journey."
4 Meeting with the Mentor: "The Hero meets a Mentor to gain confidence,
insight, advice, training, or magical gifts to overcome the initial fears and face
the Threshold of the adventure. The Mentor may be a physical person, or an
object such as a map, a logbook, or other writing."
5 Crossing the Threshold: "Crossing the threshold signifies that the Hero
has finally committed to the Journey. He is prepared to cross the gateway that
separates the Ordinary World from the Special World."
6 Tests, Allies, Enemies: "Having crossed the threshold, the Hero faces
Tests, encounters Allies, confronts Enemies, and learns the rules of this
Special World. The Hero needs to find out who can be trusted. Allies are
earned, a Sidekick may join up, or an entire Hero Team forged. The Hero
must prepare himself for the greater Ordeals yet to come and needs this stage
to test his skills and powers, or perhaps seek further training from the
Mentor. This Initiation into this Special World also tests the Hero's
commitment to the Journey, and questions whether he can succeed."
7 Approach to the Inmost Cave: "The Hero must make the preparations
needed to approach the Inmost Cave that leads to the Journey's heart, or
central Ordeal. Maps may be reviewed, attacks planned, a reconnaissance
launched, and possibly the enemies forces whittled down before the Hero can
face his greatest fear, or the supreme danger lurking in the Special World."
The Approach may be a time for some romance or a few jokes before the
battle, or it may signal a ticking clock or a heightening of the stakes.
8 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,
HUMAN 105H, Spring, 2013
Dr. Harnett
Week 6 Class Notes, page 8
and experiences "death". His Journey teeters on the brink of failure. The
Ordeal is the central magical Stage of any Journey. Only through "death" can
the Hero be reborn, experiencing a resurrection that grants greater power or
insight to see the Journey to the end."
9 Reward (Seizing the Sword): "The Hero has survived death, overcome his
greatest fear, slain the dragon, or weathered the crisis of the heart, and now
earns the Reward that he has sought. The Hero's Reward comes in many
forms: a magical sword, an elixir, greater knowledge or insight, reconciliation
with a lover. Whatever the treasure, the Hero has earned the right to
celebrate. The Hero may have earned the Reward outright, or the Hero may
have seen no option but to steal it. The Hero may rationalize this Elixir theft,
having paid for it with the tests and ordeals thus far. But the consequences of
the theft must be confronted as the Shadow forces race to reclaim the Elixir
that must not see the light of the Ordinary World."
10 The Road Back: "The Hero must finally recommit to completing the
Journey and accept the Road Back to the Ordinary World. A Hero's success in
the Special World may make it difficult to return. Like Crossing the
Threshold, The Road Back needs an event that will push the Hero through the
Threshold, back into the Ordinary World. The Event should re-establish the
Central Dramatic Question, pushing the Hero to action and heightening the
stakes. The Road Back may be a moment when the Hero must choose
between the Journey of a Higher Cause verses the personal Journey of the
Heart."
11 Resurrection: "The Hero faces the Resurrection, his most dangerous
meeting with death. This final life-or-death Ordeal shows that the Hero has
maintained and can apply all that he has brought back to the Ordinary World.
This Ordeal and Resurrection can represent a "cleansing" or purification that
must occur now that the Hero has emerged from the land of the dead. The
Hero is reborn or transformed with the attributes of the Ordinary self in
addition to the lessons and insights from the characters he has met along the
road. The Resurrection may be a physical Ordeal, or final showdown between
the Hero and the Shadow. This battle is for much more than the Hero's life.
Other lives, or an entire world may be at stake and the Hero must now prove
that he has achieved Heroic status and willingly accept his sacrifice for the
benefit of the Ordinary World. 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. He must deliver the blow that destroys the Death Star (Star Wars), or
offer his hand and accept the "magic" elixir of love."
12 Return with the Elixir: "The Return with the Elixir is the final Reward
earned on the Hero's Journey. The 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. The true Hero returns with an Elixir to share with
others or heal a wounded land. The Elixir can be a great treasure or magic
potion. It could be love, wisdom, or simply the experience of having survived
the Special World. 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
(Citizen Kane)."
HUMAN 105H, Spring, 2013
Dr. Harnett
Week 6 Class Notes, page 9
To recap the Hero's Journey:
1 Heroes are introduced in the ORDINARY WORLD, where
2 they receive the CALL TO ADVENTURE.
3 They are RELUCTANT at first or REFUSE THE CALL, but
4 are encouraged by a MENTOR to
5 CROSS THE FIRST THRESHOLD and enter the Special World, where
6 they encounter TESTS, ALLIES, and ENEMIES.
7 They APPROACH THE INMOST CAVE, crossing a second threshold
8 where they endure the ORDEAL.
9 They take possession of their REWARD and
10 are pursued on THE ROAD BACK to the Ordinary World.
11 They cross the third threshold, experience a RESURRECTION, and are
transformed by the experience.
12
They RETURN WITH THE ELIXIR, a boon or treasure to benefit the
Ordinary World.
 Discuss Unit 2 Paper assignment: Analysis of The Grapes of Wrath
in terms of The 12 Stages of the Hero’s Journey and one of the
other readings of the unit: Kottak or Bettelheim, and one epic:
Gilgamesh or Prometheus Bound.
For Next Time: Read the first part of Prometheus Bound by Aeschylus at
http://classics.mit.edu/Aeschylus/prometheus.html—up to ENTER IO, CRAZED
AND HORNED. Complete annotations of selected important events and
statements from Prometheus Bound, as well as issues that you perceive and
insights that you have in this drama, for next week. The Annotations for
Prometheus Bound will be due on Wednesday, 4/3/2013.
o Complete your Unit 2 Outside Report by Wednesday, 4/3, if you
signed up for one in this unit.
o See me if you are scheduled for an Oral Report for Unit 2, which we can
run through Wednesday, 4/10.
o The Unit 2 Paper will be due Wednesday, April 10.