In essence, Suzanne Collins’s The Hunger Games is a myth about the heroism of integrity and loyalty to others in the face of brutality, exploitation, and oppression. Katniss Everdeen, the heroine, is launched on her trajectory when her sister Prim is selected for the brutal Hunger Games. Unwilling to watch her sister go off to certain death, Katniss opts to take her place, and is thrust into the superficial, affluent, cruel world of the Capitol, where she must compete in the Hunger Games, a violent competition staged as entertainment. Katniss must play a difficult game, but she prevails in the end thanks to her characteristics of loyalty and integrity.
Firstly, it falls to this analysis to demonstrate that The Hunger Games is indeed a myth, rather than a fairy tale. Both myths and fairy tales are stories that draw on the fantastic, but other than this they are very different indeed (Lombardi). A fairy tale is generally much simpler: where a myth may be concerned with a grand theme or central problem, the fairy tale is less demanding and more likely to have a reassuring bent to it (Bettelheim 26). Reassurance and hope for the future, according to Bettelheim, are major characteristics and functions of the fairy tale (26). Myths encompass myths of creation, myths of ethno-genesis, myths of events or cultural traditions, and more besides (Lombardi). Classical mythology includes such tales as The Odyssey, Jason and the Argonauts, The Iliad, the story of Perseus and Medusa, the story of Oedipus, etc. (Kirk 8). While myths are generally thought of as ‘sacred’, it would be a profound mistake (though unfortunately it is a common one) to hold that all myths are about gods. Indeed, myths may be heroic tales or even tragedies, as the aforem...
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...versus Seeming to Be in the Hunger Games Trilogy.” Dunn and Michaud 178-192.
Collins, Suzanne. The Hunger Games. New York: Scholastic Press, 2008. Print.
Dunn, George A., and Nicolas Michaud, eds. The Hunger Games and Philosophy: A Critique of Pure Treason. Hoboken, NJ: John Wiley & Sons, 2012. Print.
Kirk, Geoffrey Stephen. Myth: Its Meaning and Functions in Ancient and Other Cultures. 1970. London: Cambridge University Press, 1973. Print.
Lombardi, Esther. “Defining Terms: Myth, Folklore, Legend, etc.” About.com Classic Literature. Classiclit.about.com, n.d. Web. 07 Nov. 2013.
Margolis, Rick. "A Killer Story: An Interview with Suzanne Collins, Author of ‘The Hunger Games’." School Library Journal. N.p., 01 Sept. 2008. Web. 12 Nov. 2013.
McDonald, Brain. “’The Final Word on Entertainment’: Mimetic and Monstrous Art in the Hunger Games.” Dunn and Michaud 8-25.
This web article talks about the different religious imagery used in The Hunger Games but also draws attending to how there is no direct reference to God, Christ or any religion of any kind within the series.
Love and hope, together are a timeless literary thematic duo, which continue to inspire countless variations and sub-genres of romance literature. For the last many centuries, romance as a genre, is arguably the most popular of all narratives. However, the theme of love often takes presentences and overarches other thematic interpretation of stories. So why then are people seeking romance in the literature they ready? Suzanne Collins wrote The Hunger Games with the intent to introduce her young adult readership to a number of politically charged themes. Although Collins's work is acknowledged for successfully presenting themes of sacrifice, versions of reality, and power, her audience conversely identifies with the debatable sub-them of love. Social forums, such as the Official Hunger Games Facebook Website exposes an insider's perspective of sort, which reveals public perceptions and interpretations of Collins's work. Even though the purpose for the fan-website built around The Hunger games is to provide a discussion space. Participant's discussions however, unintentionally reveal a...
Shmoop Editorial Team. "The Hunger Games Summary." Shmoop.com. Shmoop University, Inc., 11 Nov. 2008. Web. 04 Apr. 2014. .
When Gary Ross’ 2012 adaptation of Suzanne Collins’ famous novel ‘The Hunger Games’ exploded on screens, it was received as an action-packed, thrilling story of survival, determination and over-coming corruption. Audience’s watched in equal parts awe and horror as Katniss was thrust into Panem’s battle arena and fought for justice, family and friendship. However, if we as an audience think more critically about the film; if we think beyond the wild costumes, gripping action and skilful performances, we can see that the story explores complex philosophical ideas that strongly relate to the experiences of humanity in the real world.
As human beings, we thrive to find the meaning of our existence and also the truth. In the books and movies, The Hunger Games trilogy, the very heroic character Katniss Everdeen is on a quest to find truth. As she peels back the layers of lies that swaddle her world, she finds truth within herself and everything around her. To reflect on the novels and films, we must look at the principles of axiology and also examine the plot, characters and how they react to each situation; for reflecting on “the girl on fire” we must study the grounds of epistemology with her own identity. The whole story starts off with the day of the reaping when Prim, Katniss’ sister is selected to enter the Hunger Games, a game created by the government at the time to keep the society scared. One boy and one girl between the ages of 12 and 18 from each district are selected by an annual lottery to participate in the Hunger Games, an event in which the participants must fight to the death in an outdoor arena controlled by the Capitol, until only one individual remains.
Collins has embedded a very strong moral behind her writings, which she has made quite clear through the morals of Panem and its Capitol. The Hunger Games could be described as a massive, national television show with a little – well, big – twist. Like reality television in our day and age, it is extremely popular with plenty of drama; except, perhaps the drama is a little too dramatic, involving the brutal murder of tributes and the literal back-stabbing of fellow ‘allies’. Essentially, the Hunger Games is a large sport and source of entertainment, where the tributes must face atrocious perils such as fireballs, mutated, dogs, along with tracker-jackers – wasps genetically modified to create hallucinations and kill with merely a few painful stings. Although this is a bit too extreme for our reality television, there are still many similarities.
When looking at the facts, it is evident that novel is widely immersed in a dystopian society that bonds references to Greek and Roman mythology and the deeper meaning to the characters. Suzanne Collins utilized symbols to show how The Hunger Games is more than a novel about child war, but more as an overview as to the possibilities of a world that depends on the decisions we make as a society.
The Hunger Games, a film based off of a novel written by Susan Collins, was released in March of 2012. The film, and the book it was based on, chronicles the struggles of a girl named Katniss Everdeen, a girl who lives in a poverty stricken province or “District”, until untimely circumstances forces her to play in the Hunger Games, a gladiatorial like contest where children between the ages of 12 and 18 are forced to fight to the death. A contest that was set up by an oppressive and authoritarian government, and has thus far been sustained via the forced obedience of the rebellious Districts, the brainwashing and conditioning of Districts 1 and 2, and the conditioning of the residents of its Capitol. The movie has a variety of messages, most especially in regards toward social control and social conditioning. With these ideas in mind, a case could very well be made that The Hunger Games, throughout its two hour long run time, shows a very realistic look at a socially conditioned society and what humanity can become with the right amount of conditioning and control by an authoritarian force.
In our Society when you don't follow the rules, you become an outcast to the rest of the society. Suzanne Collins’ novel series, The Hunger Games criticizes our society and its demands for people of specific genders to act in certain ways and become certain things. Stereotypes concerning gender are prevalent in our society and all over the world. However, The Hunger Games gives a very refreshing tone of “mockery” to these stereotypes. Katniss Everdeen isn’t your typical 16 year old girl, and neither is Peeta Mellark a typical 16 year old boy, especially when they are fighting everyday just to survive. The Hunger Games is a work of social commentary, used to convince us that there can’t and shouldn’t be any defined “roles” based on gender. A mixture of “stereo-typical” gender roles within a person and their actions is what people need just to survive in our world that is changing every day.
Entertainment can come and be enjoyed in many different forms. Television shows and movies are some of the different forms of entertainment can be in. The lives of famous actors from shows or movies are constantly scrutinized on and off screen. Within the world of The Hunger Games by Suzanne Collins a version of reality entertainment is the televised murder of innocent children. Those who are chosen to be within the Hunger Games become a scrutinized celebrity. Katniss and other tributes that are forced to fight and kill show how human identity can become lost as they become objectified for the people of Panem. The Hunger Games helps represent the harm that reality television can have by using the glorification of death with the objectification
Murty, Govindini. "Decoding the Influences in "The Hunger Games"" The Atlantic. The Atlantic, 26 Mar. 2012. Web. 25 Nov. 2013.
In the novel The Hunger Games, by Suzanne Collins a new country is created. Panem is born in place of North America, were the Hunger Games began. In the Hunger Games, there are 24 tributes. Tributes are people who live in the districts. The tributes in the Hunger Games are all the same. They kill one another and become the Capitols puppets. The tributes become violent, emotionless puppets. Then there is Katniss. Katniss is an excellent hunter and becomes lethal during the games. However, she has not lost her compassion. Katniss does not think of herself as a good person. When in reality she is a good person with a large heart, who puts others before herself.
In the stories of “The Lottery” by Shirley Jackson and “The Hunger Games” by Suzanne Collins, both authors deliver the dangers of blindly following tradition that can lead to death, fear and no advancement in society. In “The Lottery” their tradition is to kill a person that is randomly chosen by using a lottery. To compare, in “The Hunger Games” children are also picked out of a lottery from each district and if they are chosen, they need to fight against each other to death. Both stories share a tradition of cruel and murderous behavior but they have a slight difference in tradition.
In a not-too-distant, some 74 years, into the future the United States of America has collapsed, weakened by drought, fire, famine, and war, to be replaced by Panem, a country divided into the Capitol and 13 districts. Each year, two young representatives from each district are selected by lottery to participate in The Hunger Games; these children are referred to as tributes (Collins, 2008). The Games are meant to be viewed as entertainment, but every citizen knows their purpose, as brutal intimidation of the subjugated districts. The televised games are broadcasted throughout Panem as the 24 participants are forced to eradicate their competitors, literally, with all citizens required to watch. The main character throughout the series is a 16-year-old girl from District 12 named Katniss Everdeen.
Thury, Eva and Margaret K. Devinney. “Theory: Man and His Symbols.” Introduction to Mythology: Contemporary Approaches to Classical and World Myths. New York: Oxford University Press, 2013. 519-537. Print.