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Teaching Mythology and Folklore
By Janet Dawson
December 6, 2010
Dr. Grierson, English 378
Table of contents
Title page
1
Table of contents
Preface
2
3
Teaching mythology through Translations of original Greek and
roman texts
4
Assignment Explanation: Comparing Translations
5
Lesson Plan: Teaching The Odyssey using Grammar in the
Context of Reading
6
The Monomyth: Teaching multi-cultural mythology through
archetypes
9
Handout: The Hero’s Journey
10
Handout: Common Archetypes 11
Writing to understand Mythology and Folklore and Writing
with Mythology and Folklore to understand the self 12
Picture Book: The Trojan War
14
Original Myth
28
My Cinderella Story
29
Self as Hero: Mini Multi-Genre Project
Epilogue
35
Annotated bibliography
36
2
30
Preface
My exploration of teaching mythology and folklore centers around this question: How
can I teach mythology and folklore to help students better understand themselves, the society in
which they live, and the literature society has produced? Through reading articles where teachers
have described various ways they have used mythology and folklore in their classrooms and
what the study of mythology and folklore did for students in each case, I found that the study of
mythology and folklore can be used to learn many different things and can be tailored to fit the
needs of a particular group of students. Since my goal in teaching mythology and folklore is
multifaceted and includes helping students explore myth to better understand themselves, society,
and literature, I was glad to find so many effective approaches. I found that some approaches are
really good at addressing one of these goals and others encompass all three. In my teaching I
plan to combine elements of the different methods so that my teaching encompasses all of my
goals.
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Teaching Mythology through translations of
original Greek and Roman Texts
Studying multiple translations of Ancient Greek and Roman texts, which contain the
earliest forms of the myths as we know them, will help students better understand society
because, as Allen Webb states, “Each translation reflects the literary and cultural sensibilities of
the translator and the period in which he or she was working” (85). By comparing early
translations to modern translations, students will gain a greater understanding of society because
they will see how their society differs from societies of the past.
Webb describes an assignment where he has students examine two or three versions of a
passage from The Odyssey to see how translation shaped the meaning of the work (86). Using
Webb’s idea as a starting point, I have created my own assignment to give to students.
Teaching students to read the dense poetic translations of Greek and Roman texts can be
a bit of a challenge. One tool that Eileen Simons found useful in helping her students make
meaning of these texts is to use grammar in the context of reading. As she read The Odyssey with
her students, she had students point out the “happening” words and who was doing the
happening and this helped students make sense of the text. I have included a lesson plan for the
first 112 lines of The Odyssey that follows Simons’ method. Having students read more difficult
translations is a valuable thing to do because it helps them build the skills they need to read
challenging texts. We just have to remember to give them the tools they need to do it.
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Assignment: Transformation of Myths through Time and Translations of The Odyssey
As you are all aware, myths are by no means static. Most myths develop from oral tradition and,
consequently, these myths change through time. What you may not be consciously aware of is
the fact that myths continue to change, even myths that have been written down for hundreds of
years. One way this happens is with translations of works that contain the earliest forms of the
myths, such as The Iliad and The Odyssey because it is impossible to translate a work without
reflecting one’s interpretation in the translation. As these myths are retranslated, they are
reinterpreted and transformed. Because of this, each translation reflects something about the
person who produced it and the society in which they lived.
For this assignment, you will choose 2-3 translations of a passage from The Odyssey and
compare and contrast these translations, examining how nuances of meaning change in each of
them and deduce what each translation suggests about the cultural and aesthetic ideals of the
society that produced it.
For translations, refer to links posted on the class website.
This paper will be due on__________.
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Lesson Plan
Planning
December 6, 2010
English 9
The Odyssey, Book I, lines 1-112
Objective:
Students will pick out the subjects and verbs in sentences and use that information to make sense
of the text.
State Core Standard:
[1.2.b] Comprehend text using internal text structures and their appropriate cue words and
phrases.
Concepts to be taught:
1) A sentence has a basic core and can have a lot of other things added on.
2) Identifying the happening words and what makes the happening can help us understand
what is going on in a sentence.
3) Connecting pronouns to antecedents.
Materials Needed:
Overhead transparency with the text of The Odyssey, Book I, lines 1-112
Overhead markers
Copies of the passage that students can mark and underline
Strategies to be used:
Modeling, gradual release of responsibility, guided practice, making connections, making
inferences
Performing
Announcements: N/A
Continuation from Previous Lesson: Students will have spent some time learning about the
Trojan War so they are familiar with the context of The Odyssey. They have also read a simple,
condensed version so they are familiar with the story. The goal now is to improve skill in reading
a complex by reading a dense, poetic translation.
Lesson Presentation:
A) Getting Started:
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


Read the selected passage to the class as they follow along so they can get an
overall sense of the poetic language.
Tell them not to worry if they don’t understand everything. Remind them that
reading is a recursive process—you need to go back and reread.
Tell them that I will introduce a strategy for rereading the passage closely once
we have read through it once as a preview.
B) Directing the Learning:
 Put the first stanza up on the overhead.
 Tell students that we are going to go through each stanza and identify the
happening words and who is doing the happening.
 Read the first sentence aloud and ask for volunteers to tell me the happening
words and tell me who is doing the happening.
 Underline these words on the overhead and have students underline them on their
copies.
 Looking for “sing,” “he,” and “had plundered.”
o If they don’t get it right away, have them look just at the second clause.
o In the first clause, the sentence is imperative, so the subject is (you) but it
is named later as “Muse.” Explain this because they probably won’t get
this by themselves.
 Ask for a recap of what is happening in this sentence.
o The writer of the poem is asking the muse to tell (sing) about a man.
o That man is characterized by twists and turns and being driven off course.
o He also helped with the destruction of Troy.
o Questions to prompt: Who is the speaker addressing in this sentence?
What is he asking him or her to tell him? What characterizes the man
referred to?
 Read the second sentence and ask for volunteer to tell me the happening words
and who is doing the happening.
 Looking for “he,” “saw,” “learned,” “he,” “suffered.”
o If they say “fighting,” that’s fine.
 Ask students who “he” refers to.
o Looking for: the man in the first sentence.
o Prompt by telling them that “he” refers to someone in the first sentence.
o What did “he” do?
o Saw cities, learned minds, suffered pains.
 Read the third sentence and ask for volunteers, or cold call if students seem ready,
to identify the happening words and who is doing the happening. (Maybe at this
point I can say that I will henceforth use the terms “subject” and “verb” to make
things easier, but not if it seems like that would be too scary for them.)
o Looking for “he,” “could [not] save,” “recklessness,” “destroyed,” “blind
fools,” “devoured,” “Sungod,” “blotted.”
o If students don’t get all of them (which they probably won’t), go clause by
clause and have them identify the subject and verb in each.
 Ask who “he” refers to.
o It’s the man in the first stanza again,
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







o But it’s also Odysseus
o Who does this sound like?
o Who exemplifies these characteristics?
o It’s someone we’ve read about lately.
What did Odysseus try to do, but wasn’t able to do?
What destroyed the men?
Read the last sentence. Tell students that it is an imperative sentence like the first
sentence.
Ask students to tell me what the subject and verbs are.
o Looking for “(you)/ Muse,” “launch,” “start,” “sing.”
What happened in this sentence?
o The writer evoked the muse a second time?
o Prompt: Who is the writer speaking to in this poem? Who is the subject of
the sentence? Who is being addressed?
Have students read the next stanza in partners. Tell them to read one sentence at a
time and underline the subjects and verbs.
o Circulate, check for understanding, and prompt when needed.
o Bring class back together and call on partnerships to tell me what they
underlined for each sentence.
o If they missed something, prompt them. (no opt out) What about in this
clause? Is there a subject as well as a verb? Etc.
Discuss what happened in this stanza.
o Everyone got home except Odysseus.
o Calypso trapped him in her cavern.
o Gods took pity on him except Poseidon.
Have students do the third stanza on their own.
o Circulate and check work
C) Bringing the Lesson to a Conclusion:
 Have students write a summary of the first three stanzas.
 Ask one or two students to share their summaries.
 Have students hand in their summaries as they leave.
Assignment:
Go through the next three stanzas and underline the subjects and verbs of each clause. (Up to line
112.) Go slowly. This is an exercise to help you understand the passage, not a quiz on whether
you can tell what the subjects and verbs are. Write a summary of the stanzas you studied for
homework. I will call on people to read these at the beginning of class tomorrow.
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The Monomyth:
Teaching Multicultural Mythology through Archetypes
In his famous book The Hero With a Thousand Faces, Joseph Campbell suggests that
myths from any culture are essentially the same. He states, “Whether we listen with aloof
amusement to the dreamlike mumbo jumbo of some red-eyed witch doctor of the Congo… or
catch suddenly the shining meaning of a bizarre Eskimo fairy tale: it will always be the one,
shape-shifting yet marvelously constant story that we find” (1). Campbell’s concept of the
monomyth that he introduces in this book opens the eyes to idea that “mythology” is not just
about gods and goddesses of ancient Greece. It is the stories of all cultures and it is fascinating
how similar they all are.
Campbell’s concept of the monomyth gives us a lens through which we can explore the
mythologies of many diverse cultures. Using this method of studying mythology in the
classroom serves the threefold purpose of helping students understand themselves, society and
literature. It helps them understand themselves because as they study the recurring motifs that
transcend time and place, they will begin to see themselves as an integral part of the human race.
It helps them understand society because they can see how myths from various cultures have
shaped society as they know it and how the myths of their own society vary from or are similar
to myths of other cultures. Finally, it helps them better understand literature because the
monomyth is present in much of the literature we read and understanding it will give students a
lens whereby they can view the literature they read.
As a teacher, it will be impossible to have students read myths from every culture, but if
students are introduced to the concept of the monomyth, they will have the tools they need to
decipher whatever myths they come across on their own. I would recommend teaching
traditional Greek mythology, then picking some myths from 2-3 other cultures to compare with
the more well-known greek myths. SueAnn Kendall suggests that a great deal of richness can be
found in Native American myths, Black American myths, and Asian myths and gives resources
that can be used to teach those myths.
A good idea would be to choose cultural myths based on larger groups of minority
students in your classroom. This would help foster cultural appreciation and give students of
those cultures a stronger sense of their identity both as individuals and members of society.
But no matter what culture you draw your myths from, you should acquaint students with
the concept of the hero’s journey and the archetypal characters they will encounter in their
reading. The following are some handouts you could use in class:
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http://tvtropes.org/pmwiki/pmwiki.php/Main/ptitleh1ltpj3ph282
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Archetypes in Literature
The Hero—The person who undertakes the quest. (Harry Potter, Frodo,
Luke Skywalker, Arthurian Knight)
The Mentor—One who helps the hero on his or her journey; gives advice
and aid when needed. (Dumbledore, Gandalf, Obie One)
The Temptress—A beautiful woman who tries to seduce the hero and
thereby keep him from accomplishing his task. (Morgan LaFaye, Delilah,
The Sirens)
The Earth Mother—Woman who gives life and nourishment to those she
comes in contact with. (Mrs. Weesly, Galandria, Mary, Eve)
The Devil—Evil incarnate. (Voldmort, Sauron, Hades)
The Trickster—A character you can’t quite make up your mind about. Is
good sometimes and bad other times. (Snape, Gollum, Darth Vadar)
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Writing to Understand Mythology and Folklore
And Writing With Mythology and Folklore
to Understand the Self
The first thing one ought to realize when having students write about mythology or using
mythology to write about themselves is that these stories exist relieve burdens and lighten the
heart. That is, people came up with these stories to satisfy their needs that went beyond food,
water, clothing, and shelter. So my first rule of thumb for having students write about or through
mythology is to have fun and be creative. Myths and fairy tales are really good at sparking the
imagination and that quality should be used to its best advantage.
Jay Linksman gives a lot of suggestions for how we can do fun, creative projects with
mythology. He suggests writing letters to mythological characters, for example, writing to Zeus
to apply for a position as a hero. He also suggests having students write original myths; stories of
how something came to be. A mythology newspaper could be written as a class. Students can get
in groups and create board games based on famous quests.
Thinking along the lines of Linksman, I came up with the assignment to have students
create a picture book that retells a story from mythology. The example I have included is my
version of The Trojan War, but students could write on any number of themes. I have also
included a modern myth that serves as an example of what a student could write.
While Linksman gives some good ideas for writing about mythology itself, Jane Juska,
and Mary Mercer Krogness give suggestions on how to get students actively engaged in writing
about folklore and how it relates to them and their lives. I believe their ideas apply to mythology
as well.
Krogness uses the Cinderella story as a way into helping students talk about and write
about their lives. She has students put themselves in the story. Has them examine how they are
like Cinderella. This works for all students (not just girls) because “the heart of this timeless tale
[is] a young girl’s feelings of rejection, dejection, abandonment, and depression” (101). These
are human feelings that everyone can relate to in some way. Krogness tells her students that they
are going to “use the… tale as a point of departure and a vehicle for making meaning of our own
lives” (102). This is a fantastic way to use fairy tales. And really a fantastic way to use literature
in general. Stories exist to help us create meaning out of our lives and one of the most satisfying
things in the world is making discoveries about ourselves. In this project I have included a
Cinderella story of my own. I have used Cinderella to help me learn more about myself.
Juska had her students interview members of their community to find out who their
heroes were, record graffiti in notebooks and analyze it, and analyze their childhood games and
what they accomplished by playing them. She noticed that the writing these students produced in
response to the folklore they were involved in was the best she had ever seen them produce. She
states,
Now why, I asked myself, couldn’t they do that when I assigned a whole variety
of topics on The Crucible? The answer was obvious. The folklore had belonged to
the kids from the beginning: the experiences they were recreating were theirs; the
results they tabulated followed from the data they collected; the reflection on what
this all meant came from them. My Crucible topics (“Choose one of the
following:”) were mine; good as they were, they didn’t come from the kids, and
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so the writing was, at best, okay.
Folklore is a good way in to helping students become invested in what they write because it
gives them the opportunity to discover more about their community and discover how they fit in
as a part of their community.
Now I shall return to my assertion that Krogness and Juska’s ideas can be applied to
mythology as well. Just as we can put ourselves into a fairy tale to discover something about
ourselves, we can examine how our lives mimic archetypal patterns and how we or others in our
lives exemplify the characteristics of archetypal characters, at least at certain times. The
archetype of the hero’s journey is so prevalent in stories because it is so much an intrinsic part of
life. It is a journey we undertake over and over again. To see this journey happening around and
through us is to understand some fundamental principles of mythology and also of literature. As
part of this project I have included a brief version of one of the hero’s journeys I have undergone.
This would be a great assignment to give students because they would be able to explore
themselves and also gain a greater understanding of the archetype that underlies so much of
literature.
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The Trojan War
14
It all began at the weddin g of Peleus and Thetis. They invited all the gods to come celebrate
with them except Eris, the goddess of discord. But Eris showed up anyway with an apple marked,
“To the Fairest” and Hera, Athena, and Aphrodite each sought to claim the apple as her own,
each considering herself the fairest.
15
Zeus sent them to Paris, prince of Troy, saying that he would decide. Paris was unable to decide,
considering each as fair as the next, so each goddess offered Paris something in exchange for
proclaiming her the fairest. Hera offered him wealth. Athena offered him power. Aphrodite
promised him the most beautiful woman in the world.
16
Paris chose Aphrodite and Aphrodite promised him Helen of Sparta, wife of Menelaus. So Paris
traveled to Sparta to claim his prize where he was welcomed in the house of Menelaus as a
welcomed guest. As Paris arrived, Eros shot Helen with an arrow and she immediately fell in
love with Paris.
17
When Menelaus left briefly, Paris and Helen escaped and began their journey to Troy.
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When Menelaus found Helen missing he assembled a massive fleet of ships filled with men to go
to war against Troy.
19
When the fleet arrived at Troy, Menelaus and another warrior, Odysseus, went and spoke with
Priam, King of Troy, trying to convince him to tell his son to give Helen back. He refused, so the
Greeks began to wage war against the Trojans.
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This war involved a nine year siege of the city Troy. In the mean time, many heroes on both
sides fought and died. Menelaus and Paris fight each other and Paris would have died, but
Aphrodite intervened.
21
The Trojans break into the Greek camp and Trojan warrior Hector sets fire to one of the Greek
ships. This would have been the beginning of the Trojans winning the war were it not for a
certain Greek warrior, Achilles.
22
When Achilles was a baby, his mother held him over the fire to burn away his immortality. But
she held him over the fire by the heel, so Achilles became immortal everywhere but his heel. So
Achilles was a very tough warrior and it was hard to kill him. When Achilles found out that
Hector had set fire to the ship, he swore he would kill him and he did. With Hector slain, the
Trojans no longer stood a chance.
23
The Greeks needed to find a way to get their forces into the city and they did this by tricking the
Trojans. They crafted a big wooden horse that was hollow in the middle and hid many of their
best warriors inside. Then all the ships sailed away so the Trojans thought they had surrendered.
24
The Trojans brought the horse into the city as a victory prize and celebrated all night. After they
were all drunk and sleeping, the warriors came out of the horse and slaughtered the Trojans. The
Trojans were forced to surrender.
25
And so the war ended. But not before Eris had gotten a lot of discord from one golden apple
marked, “to the fairest.”
26
Bibliography
“The Trojan War.” 6 Dec. 2010. Web. http://www.stanford.edu/~plomio/history.html
“Trojan War.” Wikipedia. 6 Dec. 2010. Web.
Images Used
Page 2 http://www.larsdatter.com/weddingdress.htm
Page 3 http://sites.google.com/site/adventuresoftheolympians/the-wedding
Page 4 http://en.wikivisual.com/index.php/Helen
Page 5 http://picasaweb.google.com/lh/photo/3uQ5RMZz4cdsKU7VVtQ8gg
Page 6 http://home.flash.net/~torchie/jsernas/setsforhelen.htm
Page 7 http://www.utexas.edu/courses/larrymyth/images/trojanwar/
Page 8 http://www.achilles.gr/achilles_en.htm
Page 9 http://learncopysucceed.com/blog/guarantee-your-success-the-burning-ship-method/
Page 10 http://www.fanpop.com/spots/greek-mythology/images/3205173/title/thetis-dippingachilles-de-river-styx-photo
Page 11 http://www.scientis.com/Security/Malware_Viruses.html
Page 12 http://history.docuwat.ch/videos/greek/in-search-of-the-trojan-war-2-the-legend-undersiege/?channel_id=0
Page 13 http://discordia.wikia.com/wiki/File:Eris-apple.jpg
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Original Myth
When the ocean met the sky she conceived and bore a daughter, a nymph she named
Laylee. Laylee was kidnapped by a mortal man named Nairdken who took her far away
to the mountains where he made her his bride. Laylee and Nairdken had a daughter that
they named Jade. Jade always felt a longing to leave her home, but she didn’t know why.
But when she finally came of age, she took a journey to seek peace and respite of spirit.
She journeyed long, over many miles of wasteland, until she finally reached the coast. As
she looked out over the vast expanse of blue, she heard her mother ocean calling to her.
“Get in,” she said. “Get in.” Jade didn’t hesitate. She stripped off her clothes and walked
into the water with her arms outstretched to embrace her mother ocean. Mother Ocean
enveloped her in a hug and Jade was never seen again. By mortals, anyway. And if you
go to the ocean today and listen closely to the waves, you can hear Jade sighing in
contentment that she has returned at last to her Mother Ocean.
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My Cinderella Story
I have felt like Cinderella many times as I have been stuck doing housework and taking
care of younger siblings. When I was a teenager I spent most weekends babysitting rather than
hanging out with friends.
There have been more times than I can count where I “didn’t get to go to the ball” even
though it seemed everyone else in the kingdom did. Like Cinderella, I have felt trapped. Not by
lock and key, but through a lack of invitation. I felt this way as I watched my best friend and
sister get asked to every dance in high school while I only ever got asked to one. I felt this way
when if I was ever interested in a guy, he would ask my roommate out.
Who is the fairy godmother in my story? I don’t believe I have one, but there are several
who have played the role of fairy godmother from time to time. That is, they have helped me
have hope again. One is a good friend of mine. When she was on her mission I wrote to her
about how my love life was no good. In response she had an elder in her mission write to me.
That made me feel like I got to go to the ball.
I don’t need a fairy godmother to make me a magical fancy dress and carriage. Oh wait.
There was this one time when my parents’ car was broken and my sister and I really wanted to
go to this fancy dance for high school students about a half hour away. A lady in our ward was
our fairy godmother that night by giving us a ride to the dance and taking us home at midnight.
But most of the time, my fairy godmother is someone who helps me feel beautiful on the inside.
Someone who reminds me of who I am and what I am capable of. Someone who reminds me that
even though I am not perfect, I am of great worth. It is because of these fairy godmothers that I
am ever able to make it to balls.
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Self as the Hero: A Mini-Multi-Genre Project
I underwent a hero’s journey when I went on a study abroad to England.
1. Call to adventure—took place when I decided to go
Web Page
2. Transformation—took place throughout the journey, but the most significant transformation occurred
while I was at the ocean.
Poem
3. Supernatural Aid—aid from God when I was feeling down. Words from “My Kindness” came to my
head
Journal Entry
4. Belly of the Whale—Tintern Abbey; wondering if I should be ashamed of my existence and a bird
pooped on my shoe
Essay
5. Return—I came back a different person than I was when I left. It was hard to adjust because my family
expected me to be the same.
Letter
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Call to Adventure
BYU STUDY ABROAD PROGRAMS
Spring 2009
England and Literature
This trip will take you from the North to the South of England. We will begin in Edinburgh and
end in London. We will mostly be staying in youth hostels and will have the opportunity to walk the
English countryside. We will visit the places where famous British authors lived as well as other places of
interest such as castles, cathedrals, monuments, and museums.
In preparation for this study abroad, we will take two classes together, The British Novel, and
Shakespeare. While on the tour, you will be expected to enroll in 6 credit hours. The classes will be
Literature in a Cultural Context and Creative Nonfiction.
If you have any questions, contact
John Bennion
Rick Duerden
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Transformation
Nature Reflecting my Inner State
Rocks—
Speckled
Pocked
Deformed
My face—
Red Blobs
Oozing Puss;
Scarred
At the Ocean
Waves Wash over me like healing balm.
Friends see me
More beautiful than my face.
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Supernatural Aid
June 12th, 2009
Today at the top of York Minster I felt so very alone and so weary. I am so scared of what is
going to happen to me when I go home. I came to England with no other thought than to just get here,
but now I’m wondering what I will do when it’s all over. I won’t have any money and I’ll probably have
to live at home next year and that totally sucks. How will I be able to be happy living at home? I will have
no social life. Rachel is on a mission. Teresa is on a mission.
Will I be able to succeed at the things I set out to do? What if I fail completely? I already feel like
I have in so many ways.
Then the words to a song that we’ve been singing to our firesides came to my mind.
Though thine afflictions seem at times to great to bear,
I know thine every thought and every care
And though the very jaws of hell gape after thee,
I am with thee.
And with everlasting kindness will I succor thee
And with mercy will I take thee neath my wings.
Though the mountains shall depart and the hills shall be removed
and the valleys shall be lost beneath the sea,
Know my child,
My kindness shall not depart from thee.
As these words washed over me, I knew that everything would be okay. No, life still isn’t and won’t ever
be perfect, but I know that God will be with me and will not leave me alone. He is there for me now and
will come to my aid in time of trial.
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The Belly of the Whale
The Lowest of the Low
As we were riding the coach to Tintern Abbey I sat in the seat in front of two other members of the
group who were talking about welfare. One said to the other, “I don’t know if I would rather go to jail or
be on welfare.”
My day was ruined because I have been supported by welfare most of my life. My dad never could hold
down a steady job and my mom has serious health problems.
The shame of it all came flooding back to me.
Using food stamps and the grocery store where all my friends worked.
Getting food from the bishop’s storehouse and making sure the Deseret brand food was out of sight
when friends came over.
I had planned to read Wordsworth’s recollections and have an awesome Tintern Abbey experience, but
Tintern Abbey was ruined for me. All I could think about was my shame as I walked amongst the
crumbling walls of the abbey.
After some time of wandering around, we gathered together and Rick talked about Wordsworth and his
recollections. I wasn’t listening. I was too busy wondering whether I should be ashamed of my existence
when I bird pooped on my shoe.
It was proof.
Or maybe it was God saying, “Lighten up, Girl.”
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Epilogue
I set out to find out how to use mythology and folklore to help students better understand
themselves, their society, and the literature they read. I found a lot of really good ideas on how to
do all of these things. Students can gain a greater understanding of themselves as they put
themselves into the tales and as they make the tales their own. They understand their society
better as they see themselves as part of society and as they see their society as something unique,
but also the same as every other society. They understand literature better as they begin to
understand the patterns that are woven throughout the texts. All of this only happens when
students are actively engaged in making meaning from the stories they read and actively studying
the folklore that exists around them. They must be invested in these things. They cannot just be
more assignments that the teacher wants them to do. They have to have meaning for them
personally.
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Annotated Bibliography
Allender, Dale. “The Myth Ritual Theory and the Teaching of Multicultural Literature.”
English Journal 91.5 (2002): 52-55. Web. 2 Dec. 2010.
Describes the process whereby students can understand the interplay between myth, ritual, and
philosophy. Describes how to teach that myths are not just a falsehoods, they are the stories we
tell which reflect systems of meaning. This teacher connects the concept of myth not just to
literature, but to science and refers to the stories we tell about science. While exploring the
concept of myth, students explore both themselves and their respective cultures. The focus is on
myths from all cultures, not just Greco-Roman.
Earthman, Elise Ann. “The Siren Song That Keeps Us Coming Back: Multicultural
Resources for Teaching Classical Mythology.” English Journal 86.6 (1997): 76-81.
Web. 2 Dec. 2010.
Advocates the use of contemporary texts for helping students connect classical mythology to
their own lives. She gives an extensive lists of contemporary texts that can be used in
conjunction with various classical myths
Juska, Jane. “Lebitation, Jokes, and Spin the Bottle: Contemporary Folklore in the
Classroom—A teacher’s View.” English Journal 74.2 (1985): 37-38. Web. 2 Dec.
2010.
Begins with the assertion that students get bored when they are not addressing their primary
interest—themselves. The study of contemporary folklore can be a solution to this problem. This
teacher had a folklorist visit her class who had students go out and interview people in their
community to find out who their heroes were. Students also examined the folkloric significance
of things such as childhood games and graffiti. The students were more engaged in all of this
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than they had been with previous assignments and Juska asserts that this is because the previous
assignments were very teacher-led and served the teacher’s purposes rather than their own. The
study of folklore enriched that class’s study of American literature for the rest of the year.
Kendall, SueAnn. “Teaching Mythology: Not the Same Old Thing.” English Journal 79.4
(1990): 29-32. Web. 2 Dec. 2010.
This article describes a very inclusive, multicultural, mono-myth approach to teaching
mythology. She advocates teaching the journey myth through modern literature and including
stories with both male and female protagonists. She also introduces the concept of teaching
disability in myth and gives suggestions for teaching Native American, Black American, and
Asian mythologies.
Krongness, Mary Mercer. “Relating School and Life through ‘Cinderella.’ English Journal
85.5 (1996): 101-103. Web. 2 Dec. 2010.
This article relates how a teacher had her class tell their own Cinderella stories—stories of
abandonment, rejection, and depression. This helps students examine their lives and helps to
build classroom community as they share these stories with each other. After they tell their own
stories, they read versions of Cinderella from different cultures which now have more meaning.
After doing all of this, students are prepared to do some really good writing.
Linksman, Jay. “Teaching Mythology Creatively.” English Journal 72.3 (1983): 46-47.
Web. 2 Dec. 2010.
Suggests some creative ways for students to get engaged in mythology: letter writing,
composition, mythology newspaper, and mythology games.
Mascinatonio, Rudolph. “Fifteen Hints on Teaching Greek and Roman Literature.”
English Journal 74.8 (1985): 28-30. Web. 2 Dec. 2010.
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Suggestions include making students aware of issues of translation and exposing students to a
wide variety of translations; including oral reading in the curriculum; letting students hear the
ancient languages; being judicious about which excerpts you have students read—act as if you
were a curator in a museum showing prized pieces of art; relating the classics to later works; and
helping students feel the antiquity of the literature.
Simmons, Eileen. “The Grammars of Reading.” English Journal 95.5 (2006): 48-52. Web. 3
Dec. 2010.
This article describes how to use grammar in the context of reading to help students make sense
of the difficult text of The Odyssey.
Webb, Allen. “Digital Texts and the New Literacies.” English Journal 97.1 (2007): 83-88.
Web. 3 Dec. 2010.
Describes how students can benefit from reading excerpts of multiple versions of The Odyssey
that are available online. Students can compare these translations and deduce what literary and
cultural ideals have produced various translations. They can even create their own translation by
combining elements of different versions of the text.
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