The Usefulness of Structuralism as an Analytical Tool for Uncovering How Meaning is Generated in The Wizard of Oz

Rebecca and Phillip Stein (2017) discuss monomyth, a hero’s journey, in their book “Anthropology of Religion, Magic, and Witchcraft.” In the text, they use the definition of a monomyth given by Joseph Campbell. Campbell defines it as when “A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.” (Stein & Stein, 2017.) According to the text, a hero’s journey has three stages: the departure, the initiation, and the return. (Stein and Stein, 2017.) The Disney movie, The Lion King, is a monomyth movie about a young lion who abandons his role as king of the Pride lands and must come back to save his family and his land when danger ensues. Simba is the son of Mufasa, the current king, therefore he is the rightful heir to the throne. This is the common day world that Simba lives in. His uncle, Scar, is filled with hatred towards both Simba and Mufasa, because he believes he deserves to be king. He comes up with an elaborate plan to kill them both. He tricks Simba into thinking that his father has a surprise for him, and he instructs Simba to wait inside of a canyon while he fetches his Mufasa. Scar deliberately starts a stampede of wildebeests to try and kill Simba. Mufasa arrives to the canyon to witness Simba clinging for his life, on a lone shrub’s branch, as thousands of

The archetype of the Hero’s Journey holds a prevalent pattern in the works of “Initiation” by Sylvia Plath, “A & P” by John Updike, and “Everyday Use” by Alice Walker. These works all follow the 17 stages of Joseph Campbell’s Monomyth which are separated in three stages; separation, initiation, and return. The main characters have different characterizations; however, they all follow the basic structure of the Hero’s journey archetype. There are many similarities and differences between the stages that are shown through many context clues and literary devices in each work. The Hero’s Journey archetype expressed in these literary works follow a similar and direct narrative pattern.

On the return journey the hero sometimes has to be rescued from “death or a state of helplessness” (Heroes). When Tayo finally makes it onto the right path to returning he is now willing to accept help from animals and people regularly. The mountain lion’s tracks show him the way to his lost cattle. The woman helped Tayo by at first showing him the direction to find his cattle and then again when she corrals the sheep for him. This brings on the realization that he is ready to come back to the living figuratively.

During the course of this World Literature class, several stories have been covered that accurately describe Joseph Campbell's mono-myth, or basic pattern found in narratives from every corner of the world. The Hero's Journey in it's entirety has seventeen stages or steps, but if boiled down can be described in three; the departure, the initiation, and the return (Monomyth Cycle). Each stage has several steps, but the cycle describes the hero starting in his initial state, encountering something to change him, and this his return as a changed person. To further explain this concept, there are a few stories covered in this class that can be used.

The Wizard of Oz is a classic known by all. The plot is fairly simple. Poor bored Dorothy is sick of her normal boring life on her Aunt and Uncles farm in Kansas and decides to run away to a more exciting life. Her plans are changed when she meets a fortune teller who convinces her to go back home. Unfortunately, as she is headed back home a horrible storm starts and she and her dog Toto are blown away, along with her house. When she lands, she comes outside to see that she has landed on a person with red shoes. She is met by tiny people and a witch called Glinda who tells her that she has landed on and killed the Wicked Witch of the East. Dorothy tells Glinda she wants to go home, and Glinda tells her if she follows the yellow brick road she will end up in the Emerald City where the Wonderful Wizard of Oz can help get her home.

How have notions of story telling or marginalization informed and challenged audiences? In your answer, you must refer to at least TWO set texts, at least ONE of which has been studied since the half yearly.

The book, written by L. Frank Baum in 1900, was the inspiration behind the movie the Wonderful Wizard of Oz. The problem, though, is that the movie does not follow the book at all. Most of the movie plays off the ideas and characters in The Wonderful Wizard of Oz, while following a general plot of Dorothy’s quest to the Emerald City. The biggest, and most important difference between the book The Wizard of OZ and the movie edition is that in the movie, Dorothy is simply dreaming, and in the other, she was carried to the land of OZ because of the tornado that swept through Kansas. The Wizard of Oz the movie portrays the story as a dream that Dorothy is having, with people in her life showing up as characters in the dream. This is a clever twist on the story plot, and it provides a little more entertainment, for the viewer, than the first chapter of the book, which gives a dull description of the Kansas prairie.

The first stage of the monomyth is the departure. In this stage, the hero first receives “call to adventure,” either directly or sometimes unwittingly. In a real life example, this would be taking on a task, one that is assigned by someone else or one that is chosen by oneself. This could be an assignment at a job, or it could be the desire to pursue a new hobby. Campbell mentions the “refusal of the call,” or the turning away from the journey. In life, when taking on a task, it can seem too difficult or frightening, and the natural desire may be to turn away. Campbell warns that this “converts the adventure into its negative… [and] the subject loses the power of affirmative action and becomes a victim to be saved” (59). Though an adventure may be difficult, the hero will usually gain the assist of a supernatural aid. Many

The Wizard of Oz, written by L. Frank Baum was published on May 17, 1900, and the original movie was made in 1939 (produced by Mervyn LeRoy). Both the book and movie are similar. The story is about a little girl named Dorothy who is carried away from home by a cyclone. She ends up in the land of the Munchkins where she meets little people and a witch. Once she meets the witch she is told that in order for her to get back home she has to go to the Emerald City to speak to Oz. On her journey to Oz she meets three characters: the Scarecrow, the Tin Man and the Cowardly Lion. These three characters also want something from Oz. The Scarecrow wants a brain, the Tin Man wants a heart, and the Cowardly Lion wants courage. Although the book and the

Edward Johnson wrote a bibliography on Joseph Campbell and included Joseph Campbell’s The Hero with a Thousand Faces. Edward Johnson explained that the monomyth is, “the underlying uniform structure of the adventure of the hero (which can be mapped on all people attempting to make their way through life).” Think about all the different movies, books, or stories that have been created. Most of them always have a hero, and he or she has to go on a journey. However, each journey has a different path. This journey is called the monomyth or the hero’s journey. The monomyth explains the course every hero takes to be changed and made new. This course is exemplified in more stories then people realize. For example, in the movie Osmosis Jones a

In 1949, Joseph Campbell popularized his version of the monomyth, or the hero’s journey. In this version, there were seventeen stages which were split into three distinct categories including the Departure, the Initiation, and finally, the Return. Over the course of several years, there have been numerous versions of the hero’s journey; most of them derived from Joseph Campbell’s initial version. After watching “The Perks of Being a Wallflower”, I was able to categorize the events in the movie into Christopher Vogler’s version of the hero’s journey which consists of twelve stages. The twelve stages are 1. The ordinary world, 2. The call to adventure, 3. Refusal of the call, 4. Meeting the master, 5. Crossing the threshold, 6. Tests, allies, and enemies, 7. Approaching the dragon’s den, 8. The ordeal, 9. Seizing the treasure, 10. The road back, 11. Resurrection, and finally, 12. Return with the treasure. However, modern film tends to stray from the typical hero’s journey more than the usual traditional epic poem.

Primarily, The Wizard of Oz focuses on Dorothy (Judy Garland), a young, beautiful girl from Kansas, who is taken, along with her dog Toto (Terry),

In The Wizard of Oz, the ordinary world and the beginning of the adventure are presented with stunning visual effects. Dorothy, the protagonist, is shown struggling in her ordinary world. She is confronted by the mean neighbor Miss Gulch who wants to take away Dorothy’s dog Toto and give him to the animal control authorities because of Toto’s bad behavior. Dorothy reacts childishly with a temper tantrum, begging her Uncle Henry and Aunt Em not to let Miss Gulch have her way. She confronts Miss Gulch when she tries to take Toto, saying, “You wicked old witch! Uncle Henry, Auntie Em, don't let 'em take Toto! Don't let her take him -- please!” (The Wizard of Oz). In a fit of temper, Dorothy decides to run away because she thinks that it is the only way she can protect her dog from Miss Gulch. The plot picks up the story of Dorothy’s life at a rather bleak point. Dorothy is portrayed as powerless and directionless and she does not appreciate the gifts she has in her family and life. Her character flaws and areas of growth are clear from such behavior. She seeks to be the leader of her own life but she lets temper get in the way of her enacting effective change. Furthermore, in her decision to run away Dorothy shows that she does not appreciate those who love her or the blessings of her loving home.

The boon is the reward gained from surpassing their toughest trial throughout the trials brought forward. This “boon” can be a goal, a power, treasure, or even just a feeling. The boon is usually the climax of the story, also known as the highest point of tension in the story. Once the hero has achieved the boon, the hero must then decide whether to return to the ordinary world with the boon. If he chooses to return he will often face challenges on the return journey as well. If the hero succeeds in returning to the ordinary world with the boon, it can improve the world and change it forever. Again these are only some of the 17 stages of the monomyth. Campbell states that it is very rare the myth will contain all 17 stages; they can also be presented in various orders. This makes it sometimes difficult to spot the monomyth structure within a story. (Martin)

The monomyth or, Hero’s Journey, is an outline or pattern of events that a hero may follow in a story or movie. This so called pattern takes place in two locations, the ordinary world and the supernatural world. Joseph Campbell was the first person to notice this outline and actually research it. After his passing, Hollywood development executive, Chris Vogler, took the lead and condensed the outline. Osmosis Jones is just one example of a movie which follows the monomyth. This movie also serves as a great lesson of perseverance, because even through the trials and tribulations, Jones never gives up and in the end is rewarded. As Jones goes through the stages of the monomyth, he is considered a hero and obtains perseverance.