Hero's Journey Research Paper

“ The story of the whale is so remarkable, that were there not so many witnesses, I would not venture to tell it, lest I be accused of exaggeration.”

After all this is a family, theme park and favored vacation destination for many. Some people do not want to see the darker side that this book represents, yet Grom’s twist of the logos inspires individuals to consider the proposal offered. Grom aims to acquire those people by introducing the friendly whale, casually swimming on the cover. The photographer attempts to draw in the reader, with the subtitle, “SHAMU and The DARK SIDE of KILLER WHALES IN CAPTIVITY.” The font is in all caps as if it is screaming to the reader to look at the logos, or the logic of whales in captivity. “Shamu” is SeaWorld’s iconic trademark, and a recognized character accepted in the homes of families all over the world. Any person that frequents the park learns that Shamu is a stage name and not the name of any of the whales. The light blue font coming out of the dark blue background symbolizes the truth coming out of the darkness. From a logos side of Grom’s argument, one is stimulated to evaluate the claims of whales in captivity.

There are many different messages in the novel. “Whale Talk,” I think the most important and relatable in this book is bullying, harassment, and racism. There are many real-life situations of bullying and racism throughout the whole book.

In the Heart of the Sea is the name of this magnificent book where in the first chapter, Nathaniel Philbrick tries to show us a place where the principal job is being part of the whaling industry. This chapter is the beginning of history, the beginning of tragedy, the one that occurred in the whaleship, Essex.

of the belly of a whale. This comment is an allusion to a story told in the bible about Jonah being

“I walk outside, scream at the top of my lungs, and maybe it travels two blocks” said Tj Jones. In the novel Whale Talk by Chris Cutcher, Tj Jones and Andy Mot go against the commonwealth and people’s suppositions.

One of the stages of a hero’s journey would be the Ordinary World. The Ordinary World is a setting in which helps the audience relate to hero and is usually seen in beginning of journey. The Ordinary World is hero’s home or seen as a safe haven, normally some force causes problem to Ordinary world that forces hero to leave. The Call to Adventure stage is when comfort of safe haven is off balance. The only escape would be the Special world. The Refusal to Call stage is when hero refuses to take on quest because of flaws he sees in him/herself and usually refuses because of known risks. The Meeting the Mentor stage is when someone experienced comes to aid or teach hero. Mentor is normally someone hero seeks wisdom or guidance from. Crossing the

The Hero's Journey stages characters and function. In the Ordinary world hero must enter special world to solve problem. It may include the special worlds physical and emotional characteristics. Once the call to adventure a challenge or request must be commit. The challenge has been rejected it must be met. or means to escape in special world. Although, they skipped the refusal stage still express the fear and risk involved. Hero has now meet a mentor to gain confidence, advice, or training. They were not to rush the special world and seek the experience you had to learn the lessons to better face the journey tests. Threshold has now committed to the journey which requires fears, maps, and etc. Hero must make the preparations to approach the

On the other hand, the hero will finally accept the journey probably because he may have no choice or has had a change of hearts. Then, the fellow hero will enter the “Meeting the Mentor” stage, where the hero meets a mentor who will help him. The mentor may have special training or knowledge to aid the idol: he could also be there to encourage the hero. Inspite of the mentor being a person, the mentor could be physical object to guide or give the hero better chances of survival. Next the hero will be “crossing the threshold”, which is the point of no return into the special world. The hero sometimes must be forced into “crossing the threshold”. The next stage, “Test, Allies, and Enemies”, the hero will learn the ways of the special world. His skills and commitment to the journey will be tested to the limits. Here he may seek training from his mentor. Him will also gain allies, and enemies may reveal themselves. Furthermore, in “Approach to the Inmost Cave” stage, the hero is leading to the climax of the story with either a preparation for conflict or

If the hero continues to to refuse, the stakes must continue to escalate, making it inevitable that the hero takes up the quest. Meeting the mentor is another stage that the Hero encounters. The mentor can be many things, a wise older person, to just a map, as the mentor must show the hero the way to success. After that, the hero must cross the threshhold stage. In this stage, the hero is committed to the journey and must step into the realm where the central dramatic question is redefined and the story propels forward with action. The hero will encounter tests, allies, and enemies after crossing the threshold. This becomes an essential part of the story to both the reader and the hero because it contrast from the ordinary world to the conditions of the special world. The hero also find out who his friends are and who his enemies are. After, the hero must reach the stage where he approaches the inmost cave. This is where suspense begins to build up because preparations are made for the ensuing climax. When the ordeal stage of the journey comes, the hero is faced with a crisis in which he may fail. After surviving this feat, the reward stage is when the hero is when the hero relaxes. During this time, the reader also gets a breather before the climax returns

The hero’s journey is long and has many different stages that all help the reader connect to the story. The hero always starts in the “ordinary world”, which is the life he or she leads before they begin their journey, before they experience the “special world” and the life altering changes the challenge brings. In order for the hero to enter the special world he must first receive the call to action. The call to action can come in many different forms, whether it be a sudden storm or a message in a bottle. Often the hero will refuse this call to action. This may be because the hero is scared or has a sense of duty and obligation to something else. Eventually though, as the hero meets the Mentor, something or someone that gives the hero guidance,

Referencing ‘The Hero’s Journey’ by Joseph Campbell, Guy talks about the journey in which a characters goes through in order to grow and develop. “You have to leave yourself to understand the value of yourself, you have to lose stuff before you realise that all the stuff that you’re losing is ephemeral and transitory. You must first prostitute yourself in order to know the value of yourself that is the essence of all story” (Ritchie. G, 2017). In Campbell’s book ‘The Hero’s Journey‘(1990) the concept of the stages of a journey and the journey to the Abyss are discussed. Campbell’s book describes how a protagonist answers the call to adventure, journeying through the ‘known’ until reaching a struggle. In this struggle he must reach down into the depths of the ‘Abyss’ or the ‘unknown’ in order to grow and develop, and in doing so is reborn. Once reborn the protagonist can then conquer the struggle. The ‘journey’ is what becomes known as a ‘story’ or

and characters reach a climax. Here the character usually faces his fears, overcomes his biggest

The next stage is the initiation stage, and the first of the substages is known as the “belly of the whale.” Campbell describes the whale as a“ personification,

Chapter 67 of Moby Dick by Herman Melville, entitled “Cutting In,” describes the process involved in removing the blubber from a whale. Ishmael explains the work done by the mates and the harpooners. The process contains different people working different jobs in perfect harmony. A hole is cut into the side of the whale and the harpooners begin to remove the blubber in strips while the heavers continue to lift the whale higher as the weight of the blubber is removed. The sheets are then transferred to the blubber room and the oil is extracted. Ishmael compares the removing of the blubber from the whale to peeling the skin from a fruit. The mates have all practiced enough to be able to remove it easily, in one, long, continuous strip. This comparison