volounteer

I completed my tree hours of community service learning at ELS which is located on- campus.
I heard the information, my responsibility and my work of the project. My major work was an assistor at Welcome party, organizing of the get- together, helping with decision who would be good partners, Input data into computer. When Welcome party had at Cafeteria, a lot of people than I expected joined it. It is a really good time and experience for me, I also met many friends in different countries. I tried to make them meet conversation partners, and I felt delighted when I succeeded in making partners. In addition, I made some activities for better relationship like soccer play, movie time, and dinner time. This place was a great choice for me, and I loved volunteering there. I also felt differences of culture. However, staffs are used to understanding people in other counties. SO, they tried to help my hard points. I gained the benefit of work-force experience, built contacts and references.

Toni Morrison

Toni morrison's novels include "The Bluest Eyes," "Song of Solomon" and "Beloved." She’s received virtually every major literary prize, including the Pulitzer and the National Book Critics Circle Award. Her body of work was awarded the Nobel Prize for literature in 1993. Her new novel is called "Love" that love, in all it's assorted varieties - familial, romantic, self, perverted, platonic and tough. Morrison delivers is a vivid and stirring account of the turmoil that ensues when young women are deprived of the parental but mostly paternal love and guidance that is their birthright. With Love, Ms. Morrison targets her usual mostly female and black audience, depicting African-American characters and splashing flashbacks of the Civil Rights Movement sprucely throughout. However, the messages she conveys the importance of communication, self-esteem, education, soul-searching, relationships and human nature are universal and timeless, transcending gender and race.

she transforms her stories into masterpieces. It follows on the heels of PARADISE, her masterful story of free slaves, driven across the country until they were able to settle and build their own town. All was as it should be in their "paradise" until over time it became a painful form of hell. Like an alchemist she takes words, ideas, events and characters through an ingenious array of juxtapositions and transmogrifications, which transcend their mundane use by others. All of her work is rich in myth, metaphor, mirth, wisdom, humanity and biblical references.

LOVE is an exploration into the deepest regions of these most complicated of human emotions. Culture and society are rich in examples of how mere mortals have always attempted to understand the animal attraction between two people and, in doing so, to rationalize the essences of passion and romance. Ancient myths, poems, plays, novels, songs, folklore, fairy tales, film, advertising and popular culture in general all reflect peoples' preoccupation with love and its dizzying impact on the human psyche; both lover and beloved are equally bewildered by its bewitching spell.



Questions



1.What do you think about meaning of Love?

2.Why has Toni Morrison chosen Love as the title for her novel? What kinds of Love affect and afflict its characters?

3.How are the individuals in the novel affected by these larger forces?

The rhetorical appeals

Movie- Love actually.
This movie is about love story, but I could find some globalization effects, opportunities of other countries, and different cultural problems.
The houskeeper came to U.S for finding job, and the guy who want to find love in U.S also left to England, because he tought U.S has more opportunies. When he arrived to America, his accent is special. Even England and America are both English area, but they have a little bit differences of language and cluture.Globalization gives opportunity to each nation to access each others markets as well as to capital flow, technology, imports, exports, politics, and culture. Overall, globalization has proven itself extremely beneficial and with its progression it allows for technological advancement, cultural integration, and shared markets.

Song
"The Internet Symphony" Global Mash Up
They called for professionals and amateur musicians of all ages, locations and instruments to audition for the YouTube Symphony Orchestra by submitting a video performance of a new piece written for the occasion by the renowned Chinese composer Tan Dun.
Finalists were selected by a judging panel comprised of the world’s most renowned orchestras
Worldwide musical madness! This is YouTube's incredible effort to unite musicians from all corners of the globe for a symphonic hoedown. It works! Fun to watch, easy to listen to and how they pulled it off so smoothly is a feat unto itself.

Book

An extremely controversial issue, globalization has been the center if much debate and has raised many questions. Some have viewed its process as beneficial, while many others argue that it produces unfavorable results and consequences. However, before the issues and concerns of globalization, it is necessary to determine or rather define globalization and all which is involved.
Although a fairly new term, dating to 1980s, globalization has been a historical process evident for over the last 100 years. Globalization specifically encompasses several aspects such as trade, capital movement, spread of knowledge, movement of people. Through use of trade and financial flow, globalization can be easily summed up as the integration of economies worldwide; furthermore, it includes international movement of technological knowledge and labor. As a result or rather in collaboration, there is a greater sense and existence of culture and politics.
In the broader scope, globalization promotes effectiveness by utilizing each market and nation's specialization; nonetheless, allowing people and economies to focus on what they do best. However, it has also proven to not be a fairly or evenly distributed progression among all countries and people. Low income countries have definitely felt the blows of globalization; nonetheless, it is clear that globalization needs to provide the proper support and advantages for the poorest countries. Furthermore, as globalization progresses it needs to take into consideration these countries that are not advancing quickly and develop new policies to integrated all people and countries into the global process.

Project 3

Movie -Love actually

The movie is a love story, but we can find the elements of globalization.

UK has a conference with U.S for having better relationship, and the conference should have had to get win- win situation. Also some male and female went to the other countries for getting opportunities.

Music

http://www.youtube.com/watch?v=oC4FAyg64OI&feature=featured

"The Internet Symphony" Global Mash Up

It is hard to find popular songs that relates to my topic. So, I found the symphony by youtube.

The YouTube Symphony Orchestra project represented a neat idea: use the Internet to have musicians from all over the world perform a single piece of music. It breaks language barriers, and it connects all people across the globe

Book- Globlozation,George Mavrilcos

This book was published on the symposium on globalization, economic crisis and their effects workers rights.

Image

Globalization – the growing integration of economies and societies around the world – has been one of the most hotly-debated topics in international economics over the past few years. Rapid growth and poverty reduction in China, India, and other countries.

My topic is not difficult, so I think the information might share all audiences.

The simpsons

When The Simpsons had premiered on Fox, in 1989, prime-time television was somewhat lacking in comedy.The Simpsons TV Show is a full-length animated Christmas special in 1989, The Simpsons went on to become one of the most daring network television series of the 1990s, skewering pop culture, politics, and society in general at every opportunity. Anchored by the tales of its five-member, four-fingered, dysfunctional nuclear family, the series grew to provide more and more story lines for its wealth of rich supporting characters. The Simpsons' incredibly pious neighbor. These characters and others, and the world they inhabit, have taken on a dense, rich sense of familiarity. Audiences now recognize relationships and specific character traits that can predict developments and complications in any new plot.

The unique nature of The Simpsons reveals much about the nature of the television industry. Specifically, the existence of the show illustrates the relationship of television's industrial context to its degree of content innovation. It was a program that came along at the right place, the right time, and appealed to the right demographic groups. Not surprisingly, given its success, The Simpsons has spawned many imitators and opened doors for new avenues of animated comedy.

The Simpsons has permeated our vernacular, the way we tell jokes, and how our storytellers practice their craft. If you look around, you can see the evidence, but as with any truly powerful cultural force, you can never see it all—it's buried too deep."I think The Simpsons created an audience for prime-time animation that had not been there for many, many years.

Questions

1.Compare to Family Guy that is also popular cartoon in the U.S.

2.Do you remember any TV show that affected to your life?

3.Wchich character do you like in the simpsom family?

The ball jar

Rebirth through pain

http://www.newyorkartists.net/Hunter/rebirth.jpg

Mental healthy

https://groups.ontariomd.ca/groups/files/images/Mental%20Health.jpg

Gender of Women
http://www.mylifetime.com/files/imagecache/photo_gallery_featured/files/images/menopause.jpg

The second sex

De Beauvoir states that while it is natural for humans to understand themselves in opposition to others, this process is flawed when applied to the genders. In defining woman exclusively as Other, man is effectively denying her humanity. The disciplines reveal indisputable “essential” differences between men and women but provide no justification for woman's inferiority. They all take woman's inferior “destiny” for granted.
De Beauvoir's primary thesis is that men fundamentally oppress women by characterizing them, on every level, as the other, defined exclusively in opposition to men. Man occupies the role of the self, or subject; woman is the object, the other. He is essential, absolute, and transcendent. She is inessential, incomplete, and mutilated. He extends out into the world to impose his will on it, whereas woman is doomed to immanence, or inwardness. He creates, acts, invents; she waits for him to save her.

I think she insists on the impossibility of comparing the “character” of men and women without considering the immense differences in their situation. Also, Her goal is to prove that women are not born “feminine” but shaped by a thousand external processes. She shows how, at each stage of her upbringing, a girl is conditioned into accepting passivity, dependence, repetition, and inwardness. Every force in society conspires to deprive her of subjectivity and flatten her into an object. Denied the possibility of independent work or creative fulfillment, the woman must accept a dissatisfying life of housework, childbearing, and sexual slavishness.





Question.

1. Do you agree with De Beauvoir? especially male

2.What do you think about some of the ways that women reinforce their own dependency?


3.If her functioning as a female is not enough to define woman, what do you think what is women?

Vogler 7&8

Approach to the Inmost Cave, the seventh stage of the Hero's Journey, is a time of emotionally charged preparation. In this stage, the hero prepares physically, mentally, emotionally, and spiritually to face the Shadow. Preparation may entail a number of last minute tests to prove the hero's readiness. Information could be available through the support of a team, reorganization of previously acquired clues and facts, or by stepping inside the opponent's mind and mapping out a game plan. The hero receives the gifts of unconditional love and camaraderie from his team or within an intimate relationship. This external show of love and admiration reinforces the hero's own sense of self love and provides a good dose of the emotional strength needed to face the dark. The ordeal is the crisis point of the story where there is the most dramatic tension. This is the ultimate test the hero faces, the biggest challenge. In many stories, the ordeal is life threatening. In all stories, the ordeal is life changing. The hero may face the loss of the mentor and allies and usually faces a major physical or emotional challenge.


The Inmost Cave is a special world within a world where the supreme wonder and terror awaits. It is the villain's lair, it may be a cave, a castle, a city, a planet anywhere. The hero must prepare for the ordeal and remain on guard against illusions and temptations, the hero and his allies may make plans, do reconnaissance on the enemy, try to psych out the opponent, regroup. The stakes are higher here than in earlier challenges the hero faced. In the supreme ordeal, the hero must die so that he can be reborn, transformed, come into balance. The death may be symbolic. For example, there may be an suspenseful accident where the hero appears to be dead or feels the presence of death, an experience that results in a change in attitude. At this point, the audience's concentration should be intense. The interactive storyteller can use this to good advantage to try to create in the audience-hero the kind of emotional transformation portrayed in the story.

During this personal development stage, we need the support of others to face the denied parts of ourselves. The greatest human fear is that of the unknown. And when we reject any emotion or quality which makes us human, we are creating an unknown quality. What we resist, however, persists, and our fighting spirit needs fortifying before facing that dark unknown.

Questions

1.Are you the hero of your own life, or the supporting character of someone else's story? Who makes the choices in your life? Whose life are you living?

2.What kinds of the villain does have in your story?

3. Do you think have you ever suffered the greatest fear? What way do you have for enduring the crisis?

Vogler4

Crossing of the first threshold echoes the acceptance of the call with physical action, proving that the hero can follow intent with positive action. Crossing of thresholds is a highly symbolic act, such as in the rites of passage of transition to adulthood or the carrying of a bride by a husband over the threshold of their first house. It indicates commitment and change, leaving behind the old and accepting the new. This is a defining moment in the life of the hero, often the first active decision of responsibility and independence. This is stepping into a bold new world and is often a very scary act, going from the safety of home into an unpredictable and dangerous world, where the rules are different and the cost of failure is high. Thresholds are often guarded by people, monsters or other difficulties which have to be overcome. More over, Upon arriving in this new world the hero has to as quickly as possible orient himself to the ways of the new world, assess new people he meets as to whether they are friend or foe and then face many new tests as he begins his journey in this new place. Chris Vogler writes of this phase of the journey, “here the hero is a freshman all over again in this new world.”





This installment is all about crossing the first threshold, where the hero encounters the "threshold guardian at the zone of magnified power. Such custodians bound the world in the four directions - also up and down - standing for the limits of the hero's present sphere, or life horizon." This is the point where the hero really has to pony up and step into the great beyond in a deeper way. This has happened, to some extent, by heeding the call to adventure, but that was before encountering a major challenge and an embodied experience of what it means to leave the comforts of everyday life. I think a great amount of it might have to do with ego/self, which can tie in nicely to overcoming dividing thinking. The community members need to accept and understand that life is not all about them as individuals, but about the health and vitality of that community.





We’ve committed to leaving behind the Ordinary World and stepping into the New World of our Hero’s Journey. And as we do, we’re exposed to new sounds and sights, new leanings, surprises, adventures and experiences we’ve never had before. We might feel out of place. We might feel uncomfortable, inexperienced. But we’re stretching beyond your old self. Sometimes, when crossing the first threshold, we meet with boundaries. It might be the environment, a roadblock or obstacle in the way, the road might be too far away, a storm or a drought might test your resolve, or it might be people, who come up and challenge us. Once we’re in the New World in pursuit of our treasure, we have to learn new rules, we have to go to new places, see, hear and feel new things.



Questions.

1. How do you need to interact with your new enviroment to get what you want?



2.



3.

The writer's journey2

Refusal of the call: The hero who hears the call to adventure initially may hesitate and refuse to leave the comfort and tasks of their everyday existence. Perhaps they are afraid of what might be happened to them. Perhaps they do not see the call as important, being more engrossed in their current activity. The Hero may not be willing to make changes, preferring the safe haven of the Ordinary World. They have responsibilities and do not want to leave their family. Meeting with the mentor The Hero meets a mentor to gain confidence, insight, advice, training, or magical gifts to overcome the initial fears and face the Threshold of the adventure. Sometimes the Mentor provides the hero with important information from the past. The hero may also remember important lessons learned early in life as a kind of "inner mentor" or personal code.

The refusal may well be prompted by an individual. This becomes an essential stage that communicates the risks involved in the Journey that lies ahead. Without risks and danger or the likelihood of failure, the audience will not be compelled to be a part of the Hero's Journey. Their frailties remind us of our own. Though each has at one time or another refused destiny's call, they have returned to the hero's path, stronger and more ready to fulfill their role in the tapestry of myth.

In the introduction to the story we may already have been shown the need and the refusal of the hero to respond positively to the call may thus frustrate us, initiating tension in the story. It may not be obvious right away how this stage applies to our particular heroines, but it does apply. The hero returns to his calling after trying to run away from it. Indeed, it is often these tales of reluctant heroes that win our hearts because the hero seems more human. The Refusal can also be evidenced by the medieval heiress who doesn’t want to marry. In romance, the mentor is often a best friend, a roommate, a personal maid, or some other kind of influencer.

1. Have you ever had one of those moments when you suddenly know yourself for who you are?

2. Can you think of mentor characters in your favorite stories and/or movies? What type of mentors are they and why?

3. Can you point to a mentor in your own life? What qualities does your mentor have that you would like to incorporate into your life?

Peer reviewing

My paper was reviewed by Erin. She tried to help me about grammer and spelling. I didn't realize I made a lot of mistakes of spelling. She focused on my structure, some missing part, and the weeknesses of transition.

The writer's journey

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. THE CALL TO ADVENTURE. The Hero may want to go on the adventure, but they are frankly comfortable right where they are, and adventures, after all , are uncomfortable affairs. This acts as a sort of literary inertia, where a body at rest wants to stay at rest, unless acted upon by an outside force. 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.



Before the hero can set out on the adventure, the audience first needs to know where he or she is coming from. We are told seemingly insignificant details about the Shire and what it is like to live there. All this serves to paint a significant image of the Ordinary World. This is the normalcy that the hero will break from. Most of us have enough "normal" in our own lives. The potential hero is sitting fat, dumb, and happy in the ordinary world when something comes along and smacks him into the adventure. During romantic stories, this is usually the first glimpse at the object of affection. If the journey is to be inward, perhaps it is the first time the hero recognizes a fault within herself that she wishes to correct.



We begin in the ordinary world, where everything is status quo. Everything seems ok, and that’s just the problem, isn’t it? Everything is just ok. But sometimes, a soft little voice inside our head tells us that there should be something more. We can’t quite articulate it yet, but we just get this nagging feeling, maybe it’s everyone else, but life can’t be just about this Where am I right now in my your life? Is it where I want to be? or do I get the sense that something’s just not quite right, that something needs to be changed? Maybe it’s not about the external environment, I feel that it’s me who needs changing.



Questions



1. How to descrive your ordinary world, and what do you think about them in your ordinary world?



2.If you are a storyteller, what backgrounds will you set in the ordinary world, and the do maincharacter have an inner and an outer problem?



3. Have you ever experienced 'call'? What kinds of call did you recieve?

Revising Draft

Strengths

I think I described well as it gave understanding of reader in my ordinary world. I tried to describe what personailty did I have and what kinds of person I was. I think readers could be imagin my ordinary world. Also I tried to describe an opportunity which makes it an occasion to change direction, and I found the connection between HERO journal and my life.

Weekneeses

I think I should improve connection between writing and ideas. And I need to work on attention of readers, what I want to say and what I learned.

The Archetypes(2)

The Threshold Guardian's job is to ensure the protagonist is worthy of passing the threshold, and thus they act as part of the tests the protagonist must face in the journey. A hero who depends on his strength might attempt to overcome Threshold Guardians, while a hero who depends on his wits might evade, bribe, learn from and even convert the Guardians to his cause. Heralds act to signal change and invite the character to answer the call to adventure. Their job is to motivate the hero into action, despite the hero's frequent desire to maintain the status quo. The Shapeshifter archetype is hard to describe by its very nature but in essence it acts to bring uncertainty and tension into a story, by changing appearance, mood, or behavior. In a romance, the hero and heroine can both be shapeshifters, adapting as external and internal demands require. The Shadow character is normally filled with a huge amount of repressed energy and emotion, aspects of the protagonist that have festered from lack of expression. It can be an outside force, or a reflection of part of your protagonist's character. Doubts that cripple the protagonist at the critical moment, or frighten them out of taking crucial steps are the footprints of the protagonist's Shadow. The energy of mischief and the potential for change are the signposts for the Trickster Archetype. They may be as obvious as the clownish sidekick or as subtle as the hidden troublemaker. Tricksters serve important purposes. They can serve to cut egos down to size, be they the egos of your protagonists or the people they encounter. In books with a serious or action-filled tone, they can give moments of contrasting light relief.



A wise hero or heroine recognizes such guardians as signals that they are progressing. Each guardian represents tests of new skills or beliefs, and act as warm-ups for the great confrontation, often known in romance writing circles.The paranormal subgenre allows for a more blatant version of the shpeshifter archetype, where a major character might physically change into a wolf, vampire or angel. Within the subgenre, such changes are accepted by readers along with the emotional and integral changes of more mundane characters.


We have treated with archetypes in the unconscious and in the conscious. Having a high sense of complexity in style makes us deal with dreams in terms of examining them from every aspect and having different dimensions in time and space. Asldo I hope this book has helped me identify me own archetypal characters within my work. Perhaps it has helped to clarify what a character is intended to do, or I have become aware of a gap within your work that can be successfully filled and the plot assisted by the skills of a Trickster, a Threshold Guardian or a Shadow. Careful consideration, knowledge of archetypes can be extremely beneficial during the rewrite process. I wish my characters strength of purpose.



Questions

1. What sensation you can get in your expeirence ?

2. Can you find the shpeshifer in yout life?

3. Do you agree with the archtypes, and do you think dsivided archtype is succesful in your life?

Free Rice

"You have now donated1000 grains of rice."

I think this site is very helpful for people who want to improve their vocabularies.

For me, I found many vocabularies I have never seen.... I think my best level was not good compare to others, but I hope it would be better the next time. And I like the system that repeats the questions of wrong answers I checked.

The Archetypes

An archetype is a prototype or model from which something is based. The character archetypes listed here derive from Joseph Campbell's The Hero with a Thousand Faces and are deeply rooted in the myths and legends of many cultures. A significant character's role can often be associated with one of these archetypes, because storytelling is as old as these myths and egends and is how they were handed down to us. Archetypes connect the story to the rich heritage of all storytelling. The most common and useful archetypes are: HERO, MENTOR, THRESHOLD GURDIAN, HERALD, SHAPESSHIFER, SHADOW, ALLY, and TRICKSTER. In chapter “Hero”, the essence of the hero is not bravery or nobility, but self-sacrifice. The mythic hero is one who will endure separation and hardship for the sake of his clan. The hero must pay a price to obtain his goal. The hero's journey during a story is a path from the ego, the self, to a new identity which has grown to include the experiences of the story. The mentor is a character who aids or trains the hero. The essence of the mentor is the wise old man or woman. The mentor represents the wiser and more godlike qualities within us. The mentor's role may be to teach the hero.

Everyone has some weaknesses and flaws and a hero also has it. That's way the hero must learn in order to grow. Other characters besides the protagonist can have heroic qualities. This can be especially true of the antagonist. Heroes can be willing and adventurous, or reluctant. They may be group and family oriented, or loners, and they may change and grow themselves, or act as catalysts for others to grow and act heroic. The hero can be an innocent, a wanderer, a martyr, a warrior, a vengeful destroyer, a ruler, or a fool. But the essence of the hero is the sacrifice he makes to achieve his goal. The mentor may occasionally be the hero's conscience, returning him to the right path after he strays or strengthening him when he weakens. The hero doesn't always appreciate this assistance, of course.

While reading this part, I associated it with 'The Lion King' which I chose as my hero character I thought 'The Lion King' is a story containing many archetypes. Archetypes are patterns or models of literature that reoccur in many stories. They are the hero, death & rebirth of the hero, and the symbolism and associations of water vs. desert. These archetypes can be noticed easily and help things come together. There is many cases of archetypes of characters, situations, and symbolism and associations in the Lion King. They included the heroic qualities of Simba, the spiritual death and rebirth of Simba, and the associations of water and the desert in the story. These archetypes are very important to the story and help give the viewer a better understanding.

Questions

1. Do you think you are hero? Why? What is your motivation to change by yourself?

2. When you watch the 'hero' movie such as SUPERMAN and BATMAN, do you think the heroes are a specializes kine of hero? and Why?

3. What do you think that which part of the archetypes as emanations of the hero do you belone?

1. A practical guide

This story starts Campbell's 'The hero with a Thousand Faces.' that is his statement of the most persistent them in oral tradition and recorded literature. Christopher Vogler asserts that "all stories consist of a few common structural elements found universally in myths, fairy tales, dreams, and movies." The book explores the powerful relationship between mythology and storytelling in a clear, concise style that's made it required reading for movie executives, screenwriters, playwrights, scholars, and fans of pop culture all over the world. And Campbell gives an outline of Hero's journey; Ordinary World, Call to Adventure, Refusal of The Call, Meeting with the Mentor, Crossing the First Threshold, Tests,Allies Enemies, Approach to the Inmost Cave, Ordeal, Reward, The Road Back, Resurrection, Return with th Elixir. Discover a set of useful myth-inspired storytelling paradigms like "The Hero's Journey," and step-by-step guidelines to plot and character development.
Using patterns explored in the works of Joseph Campbell (Hero With A Thousand Faces) Christopher Vogler delivers an immensely readable, illuminating explanation of why certain classic and successful stories and films resonate so strongly with their respective audiences. And breaking it down into a roadmap of events and character archetypes, Vogler teaches by example how every writer can turn a go-nowhere story idea into a journey that will captivate readers--and editors--alike. It places emphasis on the idea that everything in life has to have as much of a human and personal appeal to it, as it has a rational and practical appeal. When you try to sell something to the public, there needs to be something that appeals to their senses with so much impact that they keep coming back for more.
I am very intersted that each pattern relates with life and the story of films. We can find that what is being said resonated with us as truth about focusing one's writing. It didn't feel formulaic--just informative and thought provoking. Also our imagination is triggered into creating more relevant scenes for our characters because we have a better understanding of who they are, where they are going and why.

Question
1. Which part do you belong in your life's journey?

2. Do you agree with 12 stages? and Is it succesful in your life?

3. Can you find the stages in the movie that you watched? and which movie is hard to find the stages?

Lion King

Lion King

I can't remember, when I watched the movie. But the movie touched my heart even when I was child. The movie uses lions instead of people. Simba is the main character who watches his uncle as he murders his father. Simba's uncle threatens him, so he is forced to run away. As Simba grew, he realized what had really happened to his father. The sudden urge for revenge on the uncle overpowered him. With the help of his father's spirit, Simba eventually returns home to claim his rightful position as king. Simba faces a common archetypal situation, death and rebirth. Although Simba never physically dies, in spirit he does die. The spiritual death of Simba is when he runs away from the Pridelands into the desert. Everyone in the Pridelands thinks that he has physically died. In fact, he nearly does die in the desert. Luckily, Timon and Pumbaa find him and keep him alive. The spiritual resurrection of Simba occurs when he returns to his home at Pride Rock. Everyone discovers that Simba is alive. It seems as if he has risen from the dead to them because for such a long time they believed that he was dead. At Pride Rock, Simba returns to his previous life and faces all of his problems.