CHAPTER TWO LITERATURE REVIEW
This chapter has focused the writer on explaining all the theories used in this research. Later, these theories will be used as the primary guide in this research.
Additionally, the writer also reviewed previous studies to enrich the research as they provide supporting information for the research.
2.1 Previous Studies
Previous studies are essential for every research because they provide a proper guide for the writer in doing the analysis. Previous studies provide a rich amount of examples of the type of research as well as the topic discussed.
The first previous study is a research by Listiyani (2018). It was titled Dominic Toretto's Journey as a Hero in The Fate of the Furious Movie. This research used the hero’s journey theory from Campbell in 2004. This research was made to know whether the dom character was a hero as he went through several stages from theory. This research shows that the dom character has passed the three primary stages of the hero's journey. From the perspective of the writer in this research, this study is critical as it will help the author to uncover the hero’s journey in thor movies.
The second previous study comes from Maudsley (2013). It was titled The Hero-
scientific works about Angus movie and its relation to the hero’s journey, unrequited love, and its impact to achieve a higher understanding of character understanding. This thesis uses theory of Jungian Archetypes and The Hero’s Journey. The research found that the individuation process is a long journey that creates a formula for self-development. This thesis also reveals unrequited love in a very high-depth psychological perspective, where it discusses the anima/animus, the shadow in search of the self. Although the topics are pretty much different from the writer's thesis, the base theory of this research still uses the archetypes approach, and the hero’s journey, which will be useful for the writer's thesis.
Gusrizal (2019) finished his research titled “Traumatic Loss in Hero’s Journey in Rick Riordian’s Novel Percy Jackson and The Olympian: The Lightning Thief.”
This novel tries to uncover whether the main character Percy Jackson follows the stages of the monomyth or the hero’s journey and whether traumatic loss became the trigger of his heroic journey. This thesis uses the theory of monomyth by Joseph Campbell as the base theory of his research. The research found that the main character Percy Jackson in the novel Percy Jackson and The Olympian: The Lightning Thief follows all the stages of the hero’s journey theory, and one of the triggers the character doing the stages was his traumatic experience. This experience makes the main character change his life and have his heroic intuition.
This research was useful for the writer because it still studies the same base theory, the hero’s jour, which can later enrich the writer's understanding of the hero’s journey and the archetypal analysis.
The fourth previous study was made in the same year when Saputra (2019) finished his thesis titled “The Analysis of Hero’s Journey in J.R.R Tolkien’s The Hobbit and The Lord of The Ring; Fellowship of The Ring.” This study uses two sources of data as it is from the novels by the same author titled The Hobbit and The Lord of the Ring; Fellowship of the Ring. This research analyzed the heroic pattern of Frodo and Bilbo based on the story's description. The research uses the same approach Joseph Campbell used about the monomyth cycles or the hero's journey. This research was also made to analyze the heroic pattern of the two heroes, which ends up that both heroes surpass the hero’s journey phases. This research showed that the depiction of the hero is as an ordinary person but has a heart of gold, a brave spirit, and a willingness to be better. This research is useful for the writer since the theory used is the same one the writer wants. This research will be helpful for the writer as it is becoming one of the insights in writing about the hero’s journey theory.
Pratama (2021) finished his research entitled “The Journey of Coraline Jones: A Hero’s Journey Analysis of Coraline (2002)”. This research aims to study the journey of the character Caroline Jones in changing into a hero. The research uses the hero’s journey from Vogler, which developed Joseph Campbell's theory about the monomyth or hero’s journey. The research shows that Caroline's character follows the stages of becoming a hero by finishing specific patterns in theory. The research also finds that Caroline is considered an unwilling hero. This previous research is also helpful as it still used the same theory of the hero’s journey, which
helps the writer to undergo the research about the hero’s journey in Thor movies for deeper analysis in it.
The previous studies above are useful for the writer to seen the specific stage and steps of Hero’s journey. The previous studies above will be used to believe The main difference that distinct the writer study from the previous studies is this research is going to utilize the Representation Theory developed by Stuart Hall.
This theory will be used to uncover meaning through picture, dialogue and narration to see the Hero’s Journey stages.
2.2 Representation Theory
Essentially, representation means the process of doing work. Representation may be filled about the aspects of life, such as people, identity, behavior, and even objects. Representation also means a produced meaning exchanged from people to people that create “shared meanings” (Hall, 1997). In this research, Thor's movie was a message about what is inside our minds connected to the world. In this context, the movies have become our “shared meanings of what is the process of being a hero.” By combining with other theories like the hero’s journey, the representation theory will be the tool to understand the meaning.
In the process of meaning-making in representation theory, Hall made two processes called mind representation and language representation. The mind representation refers to something or any concept that is already in our mind and is abstract. The primary key of his theory is language, where hall argues that
language is a human privilege in sharing meanings by using the existence of language itself, signs, sounds, and images (Hall, 1997). In the end, hall believes that language is the primary medium for sharing thoughts and ideas for representing something. Representation also follows three basic approaches to it, which are: Reflective approach, the Intentional approach, and the Constructionist approach. The following are the brief details of each step.
2.2.1 Reflective Approach
from the reflective approach, we can see the meaning through the reflection of the language. The language here provides meaning and reflects it to the reader so they can understand the meaning (Hall, 1997). The reflective approach is like when we see a pen and know what a pen is, which happens because we already know the meaning of a pen through the language.
2.2.2 Intentional Approach
The intentional representation approach means that the meaning is based on the speaker, author, or the movie makers through language usage (Hall, 1997). this method is often debatable since, to know the representation, we should use language to share meaning, not a unique and private form of communication that others cannot understand.
2.2.3 Constructionist Approach
Unlike the above approach, the constructionist approach believes that neither the author nor the things in the media can have a fixed meaning in the representation
(Hall, 1997). Constructionist argues that we must not focus on the material world even though it exists. However, we must focus on those who convey the meaning of the language used or anything that represents our known concept (Hall, 1997).
For example, when we see the traffic light, a tool that gives different lights in certain loops, we know that the thing in the real world, but the color produced by the traffic lights somehow represents meaning in each color. The color differences create meaning that pass on the generation, which we still use created a culture for people to know and relate the color in traffic lights.
For this particular research, movies and other literary works are the messages that the producer wants to share. Through the language, signs, symbols, and our predetermined concept, meaning can be achieved to see the true meaning of this research which is to uncover the hero’s journey. We can assemble a new understanding of the movies by seeing the movie's language, signs, and symbols.
2.3 Jungian Psychology Approach
Before understanding the concept of archetypes and their development, we must clearly understand who is the pioneer of the Jungian psychology approach. Carl Gustav Jung was one of the most notorious psychologists besides Sigmund Freud.
While Freud argued about the concept of Id, Ego, and Superego, which become the base of the human mind, Jung developed his thoughts that humans made on specific bases, which are called archetypes or can be defined as a layer of the unconscious which altered and later be accepted in person conscious (Jung, 2014;
Papadopoulos, 2006). The archetypes were often seen in mythology and also
dreams. This concept makes people quickly accept a specific idea in their mind since it is structured and unconsciously gets in someone's head. The meaning of each interpretation by a person might vary. However, it is not hiding the fact that there are patterns in existing myths, fairytales, and folklores where there were often heroes who saved the day from darkness and other archetypes. Jung also defined that there are basic archetypes of humans which are sets of personal traits, and often one of the archetypes dominates the others. There are four basic archetypes based on Jung's theory: The Self, The Shadow, The Anima/Animus, and the Persona.
2.3.1 The Self
Jung believes that when all the psyches come together, it could create a center for the process of reaching individuation (Papadopoulos, 2006). The process of individuation is the process of earning wholeness in our bodies. Reaching the self is a lifetime process where we need to unify our conscious and unconscious. The unique part of the self is not only that it becomes the center of the unification of our mind, but it is also regarded as the archetype. This part of the theory has become one of the main foundations of other archetypes, such as the hero’s journey, which in the end creates the self where most of the time, heroes learn a new lesson as they embark on the journey. The self in real life, is the ability who has overcome and integrated the shadow, persona, and anima/animus altogether. it is the point where a person grew older and combine it into the process of individuation.
2.3.2 The Shadow
Unlike the self, which is the collective conscious and unconscious that people have in living, the shadow in archetypes is the urge to repress strange feelings and unwanted feelings (Krejčová, 2019). The shadow can be seen as the inferior urge that often cannot fit with reality or conscious demand (Papadopoulos, 2006).
From Jung's book of archetypes and the collective unconscious, there are two kinds of the shadow the personal shadow and the collective shadow. The personal shadow is something we want to manifest but often cannot live with the world standard, or the collective shadow can be defined as someone's shadow that people collectively believe. In the real world, shadow is clasiffied as your darkest emotion which cannot pass the persona it often about love, sexuality, carelessness, and even agression.
2.3.3 The Anima/Animus
The discovery of Anima/Animus was first introduced in 1961 when Jung dreamed of fantasy figures that made him see a girl figure, later called an Anima.
Anima/Animus is a male and female figure in our human mind. These figures often become essential as they will be the voice of our soul. Anima/Animus can be seen in many movies where there are voices that guide heroes to the goal or the voices that advise the heroes about something. This theory is critical because we could try and see the pattern of the hero's journey through Anima/Animus. Anima in the real life is female tendency that living in man’s mind, this might include the empathy, and the ability to feeling love. On the other hand, Animus is opposite
which the male tendency that happen in female psyche. those tendency includes courage, strength, and conviction.
2.3.4 The Persona
The Persona is more like a mask layer that people use daily (Krejčová, 2019). The persona is how we try to see ourselves to everyone. While the shadow tries to represent their lust, the persona is something that holds the shadow to be controlled as the persona tries to construct what we want to be seen by others. The example of persona is the behavior that we often shown in the public like being kind, funny, and loyal. the persona is the thing that we shown to other to make good impression for us. The persona became the mask that we put together when people around, and we put out of it when we are alone.
2.4 Hero’s Journey Theory
Jung's based theories of archetypes eventually gave birth to a new variation of archetypes. Joseph Campbell, a mythologist, researched myth and its relation with the archetypes. He argues that most myths are based on the specific pattern of heroic journeys. A hero is also described as someone who passes life stages, such as the adventurous journey, slaying dragons, and winning the day (Campbell, 2008). After quite some time, Campbell argued that three primary stages always need to be passed by a hero to finish a mission: Departure, Initiation, and Return.
The following is a brief explanation of each stage.
2.4.1 The Departure
Every adventure always needs a beginning, which the departure stages explain.
The hero gets his first calls to the quest or the adventure at the departure stage. In Campbell's book “The Hero with a Thousand Faces,” there are five other sections regarding the departure stage.
The first section is the call of adventure, which is referred to the initiating tragedy of the quest. The call of adventure stage is also where a character introduces the problem that needs to be solved by the character. This first section is also where we are introduced to the usual living of the hero. After a call, there is always a refusal, and that is where the second section started, or Campbell calls it the refusal of the call. Campbell believes that not all heroes suddenly go into the adventure, but some find excuses to get away with the call. This refusal refer to the part of a hero that is not ready to give up on their ideal life and interests (Campbell, 2008).
The following section in the departure part is called the Supernatural Aid. After eventually accepting his quest, whether by force, accident, or even voluntarily, the hero begins their first meeting with the person or being that helps the first step of his journey. In movies or any popular literature, the supernatural aid is anyone who equips the hero with training, advice, divine power, sacred item, or just helps the hero prepare for the next part of the adventure (Campbell, 2008) after the supernatural aid comes to the very first task or obstacle. Campbell calls it The Crossing of the First threshold or the border between the hero's usual world and
the gate to adventure that is unknown and dangerous. in this section, the first threshold might also be the obstacle in general. The last part in the departure stages is The Belly of the Whale. The Belly of the Whale is after the first threshold that might not be easy for the hero to get through, and it is often portrayed as the stage where the heroes might be up transferred to a new realm.
The belly of the whale might also translate as the separation from the usual world and the beginning of the hero's journey.
2.4.2 The Initiation
This stage is depicted as the central part of the journey for the hero. This part provides the viewer or audience with a series of trials and facing the main enemy.
This stage is divided into sections, as the first section is the road of trials. The Road of Trials, as its literal meaning is, is about a series of survival trials. The audience may see many actions sequence, and the supernatural aid or helps in the departure stage helps the heroes to overcome the challenges. This part also introduces the unknown world to the audience and even the main villain but not yet the showdown with the final enemy. The following stage is the meeting with the goddess or quite sometime after the hero enough with the set of the trials, the heroes later meet with the goddess and eventually become one of the allies who give blessings or even magical help during the journey (Krejčová, 2019;
Campbell, 2008). The third section was a woman as the temptress or the place where there is a female figure who tempts the heroes and tests the hero and his dedication to the journey. In short, the temptress is present as the distraction for the hero from the primary quest or task. The next is the atonement with the father
or where the character met the men figure. The hero also often has a highly complex story with this particular character, whether it needs to be fought, persuaded, or even to get their blessing or approval. Apotheosis comes in the next section, where the heroes already learn the lesson and understand the journey better. This phase was a transition of the hero itself and, most of the time, represented by the change of the costume, gaining new power, and even the pattern of death and rebirth (Campbell, 2008). The Ultimate Boon will be the last phase of the initiation stage, as the heroes reach their goal journey after the last battle or severe tests.
2.4.3 Return
After many things happen to the hero, starting from the call, the tests, and the last quest, here comes the last stage: the return stage. The return stage provides the audience explanation of how the heroes come back and behave after the quest ends. There are six sections in this part. The first one is the refusal of the return.
The adventure is not yet ended as they slay the final enemy, and in the end, the hero needs to return where he belongs. This section often ends up with the hero refusing to come back home. The following section was the magic flight, where Campbell argues that it is not in the literal meaning of flight but rather a pursuit.
Another mad man or the villain eventually chases the hero. After that comes the rescue from without, which is a rescue mission where the hero is in pursuit the world turns back to help the hero. This phase was not necessarily the world that helped the hero, but often the hero was saved by a previous character from the usual world or even someone new to the hero (Campbell, 2008). The crossing of
the return threshold section depicts the hero back into their usual world. After returning to the usual world, the hero must pass the master of the two worlds sections. Master of two worlds is the section where heroes show their power to both worlds, the power they gained from the journey, and their original power (Campbell, 2008). Heroes in this stage often gain both respect over two worlds.
The last stage of the return stage was the Freedom to Live, where the hero gained a chance to live their choice whether to live happily ever after or just want for another adventurous call. All these stages will be the primary tool for the writer to engage with the topics of research which to know the hero’s journey from the Thor movies.
