Mythic Structure in Storytelling Course Syllabus Psy 399.1 (Spring 2012) Instructor: Ronald L. Boyer Office Hours: 7:00 8:00 pm Mon. Place: Stevenson 3050 Office Location: Stevenson 3057 Time: Monday 4:00 6:40 pm Phone: 517-402-7406 cell Email: rlboyer10@hotmail.com In the beginning was the myth. God, in his search for self-expression, invested the souls of Hindus, Greeks, and Germans with poetic shapes, and continues to invest each child s soul with poetry every day. --Hermann Hesse Course Description: This course serves as an introduction to the emerging field of mythopoeic or archetypal structure and symbolism in the narrative arts, including mythology, theatre, literature and film. The course will help students to recognize and understand the imagery-based symbolic language and structure of myth and to apply these age-old principles and motifs in creating their own original narrative as the primary aim of the course. By grounding their practice of creative writing in depth psychology and comparative mythology (principally Jungian archetypes and Joseph Campbell s leitmotif of the monomyth ) students will learn to use archetypal imagery as a tool of writing craft. Campbell s model of the hero quest inspired George Lucas creation of the original Star Wars film, one of the most successful film franchises in history, and can be applied for the understanding and creation of various forms of narrative art. The theory and application of mythic structures to creative process specifically creative writing incorporates major contemporary teachers of storytelling craft (Vogler, Field), providing a working model for the creation of literary and dramatic narratives, e.g., screenplays. The conventional structure of the monomyth will be discussed in relation to mythological, literary and film equivalents, with a focus on story craft and practical writing applications. Students will create an original narrative work, accompanied by interpretation based on Campbell s paradigm. The course combines didactic and experiential studies, and includes viewing and commentary on many of our favorite stories. Students will learn: Theoretical frameworks for understanding mythopoeic (archetypal) structure and symbolism. Practical application of Campbell s theories to understanding case studies in mythic, literary, and film narratives, with an emphasis on amplification of symbols. 1
Practical application of the basic conventions of story narrative and screenwriting, 1 culminating in a Final Paper/Creative Project, an original short literary fairytale or dramatic narrative. The Final Paper also includes personal reflection and interpretative commentary on the narrative consisting of a description of archetypal structure and symbolism from the vantage point of Campbell s archetypal model of the hero quest. The learning objectives will support departmental objectives to: Be able to apply psychological theories, concepts, and principles to individual experience as well as to broader social issues and social systems. Be able to reflect on personal experience in light of psychological knowledge. Required Texts: Campbell, J. The Hero with a Thousand Faces. Princeton, NJ: Princeton University Press. Lucke, M. Schaum s Quick Guide to Writing Great Short Stories. New York, NY: McGraw Hill. Vogler, C. Writers Journey: Mythic Structure for Writers. Studio City, CA: Michael Weise. *Books available at Northlights Book Store in Cotati. They can also be ordered online at Alibris, AOL, or other online book service. **Reader available at the Copy Shop on 1435 E. Cotati Avenue, on the corner of East Cotati and Rancho Colegio. Hours are 8am-6pm Monday-Friday, and 10am-3pm Saturday. Phone: 707-792-0995. Course Requirements: Active participation in class is required, including discussions, analysis of readings, and sharing personal connections to the material. Regular attendance is vital. Attendance means being on time and not leaving early. Being late 15 minutes or more for class or leaving early constitutes a missed class. Excused absences are possible only with a doctor s note or a real emergency. Please promptly notify the instructor by phone or email should it be necessary to miss a class. Missing more than two classes will bring down your grade. If you miss a class, you are responsible for keeping up with class notes and turning work in on time. While working with course material, keep a Writing Journal. This will provide source material for the creation of your narrative/final paper. The journal may record impressions, dreams, visual imagery, the emergence of images and symbols from the unconscious, synchronicities, and any new understanding of your personal mythology/history. 1 Learning screenwriting craft takes at least a decade and ten spec scripts to attain a level of mastery. The course will offer a boot-camp for aspiring dramatic writers as a solid foundation to future development at the student s discretion. 2
Cell phone use is disruptive as is exploring on laptops or other digital devices. Please only use your phone or devices outside of class during breaks. You will be asked to turn off your phone/devise in class if you check it or answer calls during class. Use of devices is contrary to active and meaningful class participation. Students will be required to participate in all in-class writing assignments and exercises. The Final Paper must reflect a synthesis of the material and a solid understanding of mythopoeic principles underlying creative writing. The creation and development of the Final Paper will engage the student in analysis of mythic narrative as well as allow the student to partake in personal inquiry through the creation of mythic narrative. Assignment guidelines will be handed out in class. Final presentations will be scheduled at the end of the semester. This is intended to allow students an opportunity to share their narrative, illustrating the integration of archetypal concepts and mythic narrative. Guidelines will be discussed in class. Key Dates March 12: Mid-Term Exam April 15: Presentation #1 DUE April 23: Complete rough draft of Final Paper/Creative Project May 7: Presentation #2 DUE May 7: Final Paper/Creative Project DUE Evaluation: The course will be offered on a graded basis or on a CR/NCR basis. If graded, a letter grade will be assigned, using a 100-point scale. 10% for class participation/attendance 30% for Mid-Term Exam 10% for presentation #1 10% for presentation #2 (final presentation) 40% for Final Paper/Narrative & Interpretation Students with Special Needs: If you are a student with special learning needs and you think you may require accommodations, your first step is to register with the campus office of Disability Services for Students, Salazar 1049, phone 707-664-2677, website: www.sonoma.edu/dss. DSS will provide you with written confirmation of your verified disability and authorize recommended accommodations. You then present this recommendation to the instructor, who will discuss the accommodations with you. Plagiarism Policy The department takes academic honesty seriously and has a policy on plagiarism/academic honesty. Plagiarism is unacceptable and will result in disciplinary action, including failure of the course. For information see www.sonoma.edu/psychology/whoweare.htm#honesty 3
Writing Center Resource If you are having difficulty with clear written expression, feel free to make use of the SSU Writing Center services located in Schultz 1103, 707-664-4401. Writing Center staff members are available for free consultation regarding student writing. Hours are M-F 9am-5pm. Class/Assignment Schedule Week 1 (Monday, January 23) Class Introduction & Overview of the Literature Instructor will provide a brief orientation to the course and an overview of the syllabus. Following instructor s overview of the literature, class will view film Star Wars (1 st half) as the principal case study of mythic narrative. At-home assignment (for following week): Students begin a Writing Journal. The initial journal entry begins with: Long long ago, in a world far, far away (Suggested length: 1 3 pages) Week 2 (Jan. 30) Introduction to Symbolic Language: Metaphor & Primordial Image Briefly discuss at-home exercise. Discuss Vogler s introduction to mythic structure. Instructor lecture/discussion on special topic: Introduction to Symbolic Language. Jung s Concerning the Two Kinds of Thinking and other sources on symbolic language, e.g. Fromm, Cassirer. Class views Star Wars (2 nd half). Readings: Vogler, Writers Journey, pp. ix xxvi; Jung, Concerning Two Kinds of Thinking, pp. 9 36, in Psychology of the Unconscious (in reader); Fromm, pp. 11 23 (in reader); Lucke, Writing Great Short Stories, Getting Started, pp. 1 10. At-home assignments (following week): Continue journal writing. Further develop the back-story of the narrator or protagonist (i.e., hero or heroine) by fleshing out the character s back-story and myth of origins. The character may be based on biographical material or entirely fictitious. Week 3 (Feb. 6) Mapping the Hero Journey: Archetypes of the Collective Unconscious Briefly discuss at-home exercise. Discuss Vogler s intro to Campbell s hero journey model. Discuss Campbell s description of leitmotif of the monomyth. Apply model to Star Wars film. Instructor lecture/discussion of special topic: An Overview of Jung s Theories of Archetypes & the Collective Unconscious. Class will discuss Jung s theories in the context of the hero journey model. A rubric will be handed out for feedback on the Final Paper. 4
In-class writing exercise: Write about a favorite dream/ fairytale/myth/ movie/ book, & why content is meaningful. If possible, locate yourself in the narrative: What part of the story speaks to yout? Readings: Vogler, pp. 3 20 & 23 29; Neumann, The Great Mother: An Analysis of the Archetype, pp. 3 27 (reader); Campbell, Prologue: The Monomyth, pp. 3 46, Hero with a Thousand Faces; Lucke, Getting Started (Cont d), pp. 10 20. At-home assignment (following week): Continue writing on in-class exercise in journal; relate the narrative imagery in some way to personal experience/childhood. Week 4 (Feb. 13) Mapping the Journey: Introduction to Archetypal Characters Briefly discuss at-home exercises. Discuss Vogler s description of archetypal characters: hero, mentor, threshold guardian, herald. Discuss Campbell s description (supplemental). Instructor lecture/discussion on special topic: Introduction to Jung s Theories of the Unconscious in Creative Art. In-class writing exercise: Write about a favorite hero, mentor, threshold guardian, or herald from favorite narratives; reflect on personal meaning. Readings: Vogler, pp. 29 58; Campbell, re-read pp. 30 40; Jung, On the Relation of Analytical Psychology to Poetry, pp. 65 83, in The Spirit in Man, Art, and Literature (reader); Lucke, Characters, pp. 21 38. At-home assignment (following week): Continue writing on in-class exercise in journal; relate narrative imagery to personal experience. Watch the movie, Tristan and Isolde. Week 5 (Feb. 20) - Mapping the Journey: Introduction to Archetypal Characters (Cont d) & Archetypes in Tristan & Isolde Discuss Vogler s description of: shapeshifter, shadow, ally and trickster. Discuss Campbell s description of the Transformations of the Hero. Discuss at-home assignment, Tristan and Isolde, as point of departure for instructor s lecture/discussion on special topic: Key Archetypes in the Story of Tristan and Isolde. The Celtic story of Tristan and Isolde will be retold (based on Bedier translation) with commentary on its mythic structure/ symbolism in the context of Vogler and Campbell. In-class exercises: Write about a favorite shapeshifter, shadow, ally or trickster character; reflect on personal meaning. 5
Readings: Vogler, pp. 59 80; Campbell, Transformations of the Hero, pp. 334 356; Lucke, Characters (Cont d), pp. 38 53. At-home assignment (following week): Continue writing on in class-exercise; relate narrative imagery to personal experience. View The Wizard of Oz (1939). Week 6 (Feb. 27) - Stages of the Journey Briefly discuss at-home exercise. Discuss Vogler s description of: ordinary world, call to adventure. Discuss Campbell description. Begin discussion of the Wizard of Oz narrative, an ongoing case study illustrating the stages of the narrative journey. In-class writing exercise: Describe your hero/ heroine s ordinary life/backstory & call to adventure based on a favorite narrative; reflect. Selected Vogler exercises, Questioning the Journey, pp. 97 & 105 (optional). Readings: Vogler, pp. 81-106; Campbell, pp. 49-58. At-home assignment (following week): Continue writing on in-class exercise in journal; relate narrative imagery to personal experience. Week 7 (March 5) - Stages of the Journey (Cont d) Briefly discuss at-home assignment. Discuss Vogler s description of: refusal of call, meeting with mentor. Discuss Campbell material. Continue discussion of the Oz narrative to illustrate the stages. Discuss prep for Mid-Term Exam. In-class writing exercise: Describe your protagonist s refusal of call, meeting with mentor; reflect. Selected Vogler exercises, pp. 114 & 125 (optional). Readings: Vogler, pp. 107-126; Campbell, pp. 59 68 & pp. 69 77; Lucke, Conflict, pp. 55-67. At-home assignments (following week): Prepare for Mid-Term Exam. Continue writing on inclass exercise in journal; relate narrative imagery to personal experience. Week 8 (March 12) Mid-Term Exam Mid-term essay exam. Exam will test students comprehension of concepts of archetypal and mythical structure in Jung, Campbell, and others. 6
In-class exercise: The class will view the film, Clash of the Titans. At-home assignment (following week): Continue writing in journal on in-class exercise; relate narrative imagery to personal experience. Week 9 (March 19) - Stages of the Journey (Cont d) & Intro to Screenwriting Briefly discuss exam and in-class exercise. Discuss Vogler s description of motifs of crossing first threshold; and tests, allies & enemies. Discuss Campbell s description. Continue discussion of Oz narrative to illustrate stages. Instructor s lecture/discussion of special topic: The Structure of Screenplay: Syd Field s Three-Part Model. A screen-craft model that can be applied to all dramatic narrative, starting with Star Wars, The Wizard of Oz, Tristan and Isolde, and Clash of the Titans. Brief illustrative film clips from each. In-class writing exercise: Describe your protagonist s crossing the first threshold, and tests, allies and enemies encountered on the other side. Selected Vogler exercises, pp. 132 & 141. Field exercises, TBD. Readings: Vogler, pp.127-142; Campbell, pp.77-89; Field, pp. What is a Screenplay?, pp. 7 13, & The Subject, pp. 14 21, in Screenplay: The Foundations of Screenwriting (reader); Lucke, Plot & Structure, pp. 69-79. At-home assignments (following week): Continue writing in journal on in-class exercise; relate narrative imagery to personal experience. Watch Cecile B. DeMille s classic film, Ten Commandments. Week 10 (March 26) Spring Break No class! Week 11 (April 2) - Stages of the Journey (Cont d) Discuss Vogler s description of motifs of inmost cave & the ordeal. Discuss Campbell s description. Discuss Oz narrative. Discuss at-home assignment, Ten Commandments, as point of departure for instructor s special topic lecture/discussion: Introducing the Mythic Orphan in Mythology, Literature and Film, Pt. 1. The character motif in mythology, based on Rank, The Circle of Myths, pp. 14 64, & Kerenyi & Jung, The Primordial Child in Primordial Times, pp. 25 69. 7
In-class writing exercise: Describe protagonist s adventures in the inmost cave and ordeals encountered there. Describe protagonist s orphaned-hero origin myth. Selected Vogler exercises, pp. 153 & 173. Readings: Vogler, pp. 143-174; Campbell, pp. pp. 90 109 & pp. 318 334 (Childhood of the Human Hero); Otto Rank, Introduction, pp. 3 13, in The Myth of the Birth of the Hero (reader); Lucke, Plot & Structure (Cont d), pp. 79 97. At-home assignments (following week): Journal writing, development of narrative material. View John Boorman s film, Excalibur. Week 12 (April 9) - Stages of the Journey (Cont d) Discuss Vogler s description of the motif of reward and road back. Discuss Campbell s description. Discuss Oz narrative. Discuss at-home assignment, Excalibur, as point of departure for instructor s special topic lecture/discussion: The Mythic Orphan in Literature. The motif in English literature. Overview from Arthur to Shakespeare, Victorians to present. Discuss guidelines for student presentations. In-class writing exercise: Describe protagonist s obtaining of the reward/boon/treasure hard to attain, and road (of ascent) back to society. Vogler exercises, pp. 185 & 194. Readings: Vogler, pp. 175-196; Campbell, pp. 109-120; & pp. 149 192; Lucke, Setting & Atmosphere, pp. 99 119. At-home assignments (following week): View one or more of the following assigned films: Batman Begins, Hero, The Jungle Book, Beverly Hills Ninja, Casino Royale, The Jerk, Little Big Man, Superman, Harry Potter, Terminator II, Bladerunner, The Omen, Gangs of New York, Austin Powers: Goldmember, or The Importance of Being Earnest. Prepare class presentation. Continue in-class writing exercise in journal; relate imagery to personal experience. Week 13 (April 16) - Stages of the Journey (Cont d) Briefly discuss at-home assignments. Discuss Vogler s description of the motifs of resurrection, return with elixir, final stages of the journey. Discuss Campbell material. Discuss Oz narrative. Instructor lecture/discussion on special topic: The Mythic Orphan in Film. Discuss the motif in cinema, from Silent Era to present, in all film genres, from comedy and family films to drama, action, and more. Discuss significance of mythic orphan at the Hollywood Box Office. Student presentations on mythic orphan film assignment (5-10 minutes each). 8
In-class writing exercise: Describe protagonist s death-rebirth, & the return to society with the elixir of renewal. Readings: Vogler, pp. 197-230; Campbell, pp. 193 243; Lucke, Narrative Voice, pp. 121 141. At-home assignment: Complete a rough draft of Final Paper from journal notes (i.e., a fairytale/mythic narrative, including commentary). Week 14 (April 23) - Reflections on the Journey: Star Wars and the Writer s Quest Briefly discuss at-home assignment. Instructor s guidance on preparing Final Paper & final presentation. View Star Wars a second time. Discussion will occur in the form of ongoing commentary; class identifies key archetypes as the story unfolds. Discuss Vogler s analysis of Star Wars. Readings: Vogler, pp. 231-297 At-home assignments: Revise Final Paper for in-class critique; prepare for pitch / presentation. Week 15 (April 30) - Preparation for Final Paper & Final Presentation Discuss at-home assignments, Final Paper & Final Presentation. Include rubric exercise, and editing/revision in class. Guidance on the art of the pitch links skills to real-world publishing & film business. In-class exercises: Rubric applied in teams for peer feedback. Revising of Final Paper; prep for pitch / presentation, including logline. Week 16 (May 7: Exam Week) - Final Paper Due & Final Presentation Closing discussion on the craft & business of writing. Final paper due. Final paper consists of a 20 25 page (dbl spaced) original fairytale applying principles of mythic structure and symbolism, and a 5 10 page essay (dbl spaced, APA style) integrating reflection on personal meaning and interpretation of the collective meaning of the images based on Jung, Campbell, and Vogler. Final student presentation/pitch (5 10 minutes each). The final presentation will consist of a pitch of the story with reflexivity on personal meaning for the student. 9