Journey towards acceptance - Ivan & Houli (Age)

[Ruanaidh]

A life can be mapped in the context of what Joseph Campbell called the 'Hero's Journey'. It is a theme in all human psyche's no matter what background. That is why we get all warm and fuzzy when disparite characters meet (houli and Maric) in order to vanquish a foe (Collingwood). It is one of the steps in the journey. Where does it come from...who knows. But what I do know is that overlying dogma's just get in the way. Campbell described Shamans/Mystics/Seers/Alchemists as conduits or open hands that led you to esoteric wisdom. Priests/Mullah's closed the hands into fists and said not come through me but to me.

The Hero's Journey:

The Hero's Journey Outline
The Hero’s Journey is a pattern of narrative identified by the American scholar Joseph Campbell that appears in drama, storytelling, myth, religious ritual, and psychological development.  It describes the typical adventure of the archetype known as The Hero, the person who goes out and achieves great deeds on behalf of the group, tribe, or civilization.

Its stages are:

1.        THE ORDINARY WORLD.  The hero, uneasy, uncomfortable or unaware, is introduced sympathetically so the audience can identify with the situation or dilemma.  The hero is shown against a background of environment, heredity, and personal history.  Some kind of polarity in the hero’s life is pulling in different directions and causing stress.

2.        THE CALL TO ADVENTURE.  Something shakes up the situation, either from external pressures or from something rising up from deep within, so the hero must face the beginnings of change.

3.        REFUSAL OF THE CALL.  The hero feels the fear of the unknown and tries to turn away from the adventure, however briefly.  Alternately, another character may express the uncertainty and danger ahead.

4.        MEETING WITH THE MENTOR.  The hero comes across a seasoned traveler of the worlds who gives him or her training, equipment, or advice that will help on the journey.  Or the hero reaches within to a source of courage and wisdom.

5.        CROSSING THE THRESHOLD.  At the end of Act One, the hero commits to leaving the Ordinary World and entering a new region or condition with unfamiliar rules and values.

6.        TESTS, ALLIES AND ENEMIES.  The hero is tested and sorts out allegiances in the Special World.

7.        APPROACH.  The hero and newfound allies prepare for the major challenge in the Special world.

8.        THE ORDEAL.  Near the middle of the story, the hero enters a central space in the Special World and confronts death or faces his or her greatest fear.  Out of the moment of death comes a new life.

9.        THE REWARD.  The hero takes possession of the treasure won by facing death.  There may be celebration, but there is also danger of losing the treasure again.

10.      THE ROAD BACK.  About three-fourths of the way through the story, the hero is driven to complete the adventure, leaving the Special World to be sure the treasure is brought home.  Often a chase scene signals the urgency and danger of the mission.

11.     THE RESURRECTION.  At the climax, the hero is severely tested once more on the threshold of home.  He or she is purified by a last sacrifice, another moment of death and rebirth, but on a higher and more complete level.  By the hero’s action, the polarities that were in conflict at the beginning are finally resolved.

12.       RETURN WITH THE ELIXIR.  The hero returns home or continues the journey, bearing some element of the treasure that has the power to transform the world as the hero has been transformed.

Finding Joe:
http://www.youtube.com/watch?v=QTVKmZZN39I

[Dice]

''Simple things, like in Australia the tradition of shaking hands and kissing on the cheek as a greeting,'' Houli says. ''For us, we can't do that.

Simple things , like putting your body on the line in a contest , " Houli says. " For us , we can't do that "

There...all fixed

[WilliamPowell]

pooe, I don't know how I stuffed the above post up . Anyway you get my gist WP.

yep I did

And I fixed the post 

[Tigeritis™©®]

this has nothing to do with football, move the thread

Agreed. 
Footy & religion shouldn't be mixed.

If you wanna pray do it in your own time and get out of our Punt rd end!

That's what I reckon. 

[WilliamPowell]

Footy & religion shouldn't be mixed.

But footy is a RELIGION

Or did my folks lie to me 

[RedanTiger]

this has nothing to do with football, move the thread

It has a lot to do with broadening our base to make it an attractive place to be a member.
In our discussion here it seems to be a total focus on the religion aspect to the exclusion of all else.
This may well be because it seems the focus of Houli's input, but I choose to see the positives in appealing to different cultural POV's.

Think it's all a better basis for marketing than aiming at the Indian community (in India  ).

[Damo]

During my years in the Philippines, which is a seriously brain-washed Catholic country (Mindanao Muslims excluded), I was often asked my religion.

Easy reply for me -

"Family, mateship and Richmond".

[Tigeritis™©®]

Footy & religion shouldn't be mixed.

But footy is a RELIGION

Or did my folks lie to me 

So true WP.
I must confess I've prayed to that false footy gods plenty of times over the years at the sacred MCG ground, as I'm sure many have ..... But those gods haven't been good to us loyal tiger fans. 

[Stripes]

Houli, a devout Muslim, and Maric, a proud Australian,

Houli, a proud Australian and devout Muslim, and Maric, a proud Australian with strong Croatian heritage

Great suggestion Smokey. I thought the same thing upon reading the article.

What I took away from the article is that we are a diverse and open-minded bunch down at Tigerland. Maric was keen to learn as much about what it is to be a Muslim to educated himself and to help him understand more about his team mate & friend. Houli seems to have done the same with Marics background.

I try and teach my own kids the same philosophy - learn and listen as much as you can about something and then make your own mind up about it then.

Respecting differences would have saved an infinite amount of ill directed and wasted hatred over history imo.

[dwaino]

I understand this is a touchy subject and we have be careful in what we say, but the question must be asked. Who would make a better falafel between Jamie Oliver and Rouda?

[yellowandback]

Houli, a devout Muslim, and Maric, a proud Australian,

A line like this really gets under my skin.  By subtle implication and whether intended or not, an ill-thought out line like that can have the effect of saying Houli isn't a proud Australian because he is Muslim.  Good journalism or writing would have a better way of getting a point across without making this flawed point - something like:

Houli, a proud Australian and devout Muslim, and Maric, a proud Australian with strong Croatian heritage

That reworded line still gets the same point across and still leads the reader seamlessly to the same place in the article but it doesn't imply anything about either person that is possibly denigrating or misleading.  The media are so powerful in this country, I really wish they would think through the things they write sometimes.  Unless of course, they meant for the inference to be there.

I agree Smokey - lets face it, clearly they are both proudly Australian - they play the best frickin game in the world and its all thanks to Australia! It's just that they are proud for reasons other than just being Australian.

[Owl]

A life can be mapped in the context of what Joseph Campbell called the 'Hero's Journey'. It is a theme in all human psyche's no matter what background. That is why we get all warm and fuzzy when disparite characters meet (houli and Maric) in order to vanquish a foe (Collingwood). It is one of the steps in the journey. Where does it come from...who knows. But what I do know is that overlying dogma's just get in the way. Campbell described Shamans/Mystics/Seers/Alchemists as conduits or open hands that led you to esoteric wisdom. Priests/Mullah's closed the hands into fists and said not come through me but to me.

The Hero's Journey:

The Hero's Journey Outline
The Hero’s Journey is a pattern of narrative identified by the American scholar Joseph Campbell that appears in drama, storytelling, myth, religious ritual, and psychological development.  It describes the typical adventure of the archetype known as The Hero, the person who goes out and achieves great deeds on behalf of the group, tribe, or civilization.

Its stages are:

1.        THE ORDINARY WORLD.  The hero, uneasy, uncomfortable or unaware, is introduced sympathetically so the audience can identify with the situation or dilemma.  The hero is shown against a background of environment, heredity, and personal history.  Some kind of polarity in the hero’s life is pulling in different directions and causing stress.

2.        THE CALL TO ADVENTURE.  Something shakes up the situation, either from external pressures or from something rising up from deep within, so the hero must face the beginnings of change.

3.        REFUSAL OF THE CALL.  The hero feels the fear of the unknown and tries to turn away from the adventure, however briefly.  Alternately, another character may express the uncertainty and danger ahead.

4.        MEETING WITH THE MENTOR.  The hero comes across a seasoned traveler of the worlds who gives him or her training, equipment, or advice that will help on the journey.  Or the hero reaches within to a source of courage and wisdom.

5.        CROSSING THE THRESHOLD.  At the end of Act One, the hero commits to leaving the Ordinary World and entering a new region or condition with unfamiliar rules and values.

6.        TESTS, ALLIES AND ENEMIES.  The hero is tested and sorts out allegiances in the Special World.

7.        APPROACH.  The hero and newfound allies prepare for the major challenge in the Special world.

8.        THE ORDEAL.  Near the middle of the story, the hero enters a central space in the Special World and confronts death or faces his or her greatest fear.  Out of the moment of death comes a new life.

9.        THE REWARD.  The hero takes possession of the treasure won by facing death.  There may be celebration, but there is also danger of losing the treasure again.

10.      THE ROAD BACK.  About three-fourths of the way through the story, the hero is driven to complete the adventure, leaving the Special World to be sure the treasure is brought home.  Often a chase scene signals the urgency and danger of the mission.

11.     THE RESURRECTION.  At the climax, the hero is severely tested once more on the threshold of home.  He or she is purified by a last sacrifice, another moment of death and rebirth, but on a higher and more complete level.  By the hero’s action, the polarities that were in conflict at the beginning are finally resolved.

12.       RETURN WITH THE ELIXIR.  The hero returns home or continues the journey, bearing some element of the treasure that has the power to transform the world as the hero has been transformed.

Finding Joe:
http://www.youtube.com/watch?v=QTVKmZZN39I

Doing the two week creative writing course at Cae mate?

[Ruanaidh]

A life can be mapped in the context of what Joseph Campbell called the 'Hero's Journey'. It is a theme in all human psyche's no matter what background. That is why we get all warm and fuzzy when disparite characters meet (houli and Maric) in order to vanquish a foe (Collingwood). It is one of the steps in the journey. Where does it come from...who knows. But what I do know is that overlying dogma's just get in the way. Campbell described Shamans/Mystics/Seers/Alchemists as conduits or open hands that led you to esoteric wisdom. Priests/Mullah's closed the hands into fists and said not come through me but to me.

The Hero's Journey:

The Hero's Journey Outline
The Hero’s Journey is a pattern of narrative identified by the American scholar Joseph Campbell that appears in drama, storytelling, myth, religious ritual, and psychological development.  It describes the typical adventure of the archetype known as The Hero, the person who goes out and achieves great deeds on behalf of the group, tribe, or civilization.

Its stages are:

1.        THE ORDINARY WORLD.  The hero, uneasy, uncomfortable or unaware, is introduced sympathetically so the audience can identify with the situation or dilemma.  The hero is shown against a background of environment, heredity, and personal history.  Some kind of polarity in the hero’s life is pulling in different directions and causing stress.

2.        THE CALL TO ADVENTURE.  Something shakes up the situation, either from external pressures or from something rising up from deep within, so the hero must face the beginnings of change.

3.        REFUSAL OF THE CALL.  The hero feels the fear of the unknown and tries to turn away from the adventure, however briefly.  Alternately, another character may express the uncertainty and danger ahead.

4.        MEETING WITH THE MENTOR.  The hero comes across a seasoned traveler of the worlds who gives him or her training, equipment, or advice that will help on the journey.  Or the hero reaches within to a source of courage and wisdom.

5.        CROSSING THE THRESHOLD.  At the end of Act One, the hero commits to leaving the Ordinary World and entering a new region or condition with unfamiliar rules and values.

6.        TESTS, ALLIES AND ENEMIES.  The hero is tested and sorts out allegiances in the Special World.

7.        APPROACH.  The hero and newfound allies prepare for the major challenge in the Special world.

8.        THE ORDEAL.  Near the middle of the story, the hero enters a central space in the Special World and confronts death or faces his or her greatest fear.  Out of the moment of death comes a new life.

9.        THE REWARD.  The hero takes possession of the treasure won by facing death.  There may be celebration, but there is also danger of losing the treasure again.

10.      THE ROAD BACK.  About three-fourths of the way through the story, the hero is driven to complete the adventure, leaving the Special World to be sure the treasure is brought home.  Often a chase scene signals the urgency and danger of the mission.

11.     THE RESURRECTION.  At the climax, the hero is severely tested once more on the threshold of home.  He or she is purified by a last sacrifice, another moment of death and rebirth, but on a higher and more complete level.  By the hero’s action, the polarities that were in conflict at the beginning are finally resolved.

12.       RETURN WITH THE ELIXIR.  The hero returns home or continues the journey, bearing some element of the treasure that has the power to transform the world as the hero has been transformed.

Finding Joe:
http://www.youtube.com/watch?v=QTVKmZZN39I

Doing the two week creative writing course at Cae mate?

Nah....just the lifelong search for meaning.............aren't you?

[Owl]

Lol nah, but it looks a good choose your own adventure plot, go to paragraph 12 if you wish to feed the Troll ;0)