Wednesday, December 3, 2008
Finishing the Credit
To finish up my extra credit assignments, I have a get out of jail free card to replace: submitting something to the Eckerd Review and the 1000000 monkeys.
Monday, November 17, 2008
More Credit
I just wanted to update on my extra credit opportunities:
Today I led the Vogler discussion, which takes place of emailing the author of a source from my research paper.
I also participated in early voting, getting my vote for Obama in at the public library when I was home for fall break.
Of course I also dressed up for Halloween as someone from the 70s... this kind of character can be applied to any character from Vogler's journey, let's say the heroine of a journey, or an ally to a friend.
Today I led the Vogler discussion, which takes place of emailing the author of a source from my research paper.
I also participated in early voting, getting my vote for Obama in at the public library when I was home for fall break.
Of course I also dressed up for Halloween as someone from the 70s... this kind of character can be applied to any character from Vogler's journey, let's say the heroine of a journey, or an ally to a friend.
Sunday, November 16, 2008
Last Vogler
Vogler, Christopher. “The Writer’s Journey- Stories are Alive.” The Writer's
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
In this last section of the reading, Vogler discusses briefly the journey comparing it to writing. He says that anyone setting out to write a story is their own hero experiencing the stages and leaving with the elixir of a good story. He also says that stories are magic and he expresses the power of words saying that they do provide for emotional reactions and healing power, which he then relates to shamans. Shamans are healers who have prepared for their work through their own trials. They have been reborn and identified, returning with new powers. Vogler also says that writer’s travel which explains their need for solitude because in their minds they are traveling into the story.
The next section is where Vogler discusses the idea that stories are alive. He believes that stories have healing powers, survival value, that they are metaphors, they show inner and outer journeys, that they are orientation devices and are alive. He goes on to talk about Rumperstiltskin because it is on that challenged him. He thinks about the damsel in distress as making a wish to the world that is then answered with several consequences. He says that all stories can be boiled down to wishes and the consequences that follow them. They are powerful and easily relatable to audiences because we all have secret desires. The wish can be expressed or implied and filled in by the audience but either way the story finds it. The response to the wish can be unexpected. Vogler continues to talk about the difference between want and need. This is because often heroes want something, their wish, but what they need is a life lesson to be learned along the journey. Another important aspect of story telling is identification because the themes must reflect the audience so that they are emotionally invested. Writers must also consider the wishes of the audience, the hero and even what the audience wants for the villain. Wishes must be put into action which leads us into willing which is the next logical step. The hero must be willing to take on the journey and willing to pay the price. Wishing and willing bring the story to life.
Reaction
In this section of the text, Vogler’s passion for writing seems to surface greatly. He feels a strong connection to the written word which is nice to see, even inspiring. I agree that words hold a lot of power. I think that through stories we do learn a lot and it is sometimes an escape from our own worlds or just another way to enjoy our fantasies. However writing can be a powerful persuasive tool or form of communication so I understand the emphasis he places on it. I also agree that stories revolve around wishing. Just as we have already discussed, each hero needs to have a desire, something that propels them through the story, this is the same as the wish and without it there would be little emotional attachment behind his or her actions. Wishing of course leads to willing, assuming the hero makes it past the early stages of the journey to face the main ordeal. I do think there are several exceptions and variations, but he has discussed this in detail previously. I’m not sure that I agree with his statement that writers need solitude because sometimes I think writers are inspired by the outside world around them which taps into natural and relatable aspects as opposed to imagined worlds that exist within the writer’s head alone. I think that Vogler has made several good points throughout this text over the past weeks and there is a lot to be learned from him. There is also so much for him to continue learning, as he mentioned, as writers continue to break the mold.
Questions
Are stories really like shamans? Is this necessary or can stories survive without it?
Are stories alive, why or why not?
Does the audience need identification for success?
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
In this last section of the reading, Vogler discusses briefly the journey comparing it to writing. He says that anyone setting out to write a story is their own hero experiencing the stages and leaving with the elixir of a good story. He also says that stories are magic and he expresses the power of words saying that they do provide for emotional reactions and healing power, which he then relates to shamans. Shamans are healers who have prepared for their work through their own trials. They have been reborn and identified, returning with new powers. Vogler also says that writer’s travel which explains their need for solitude because in their minds they are traveling into the story.
The next section is where Vogler discusses the idea that stories are alive. He believes that stories have healing powers, survival value, that they are metaphors, they show inner and outer journeys, that they are orientation devices and are alive. He goes on to talk about Rumperstiltskin because it is on that challenged him. He thinks about the damsel in distress as making a wish to the world that is then answered with several consequences. He says that all stories can be boiled down to wishes and the consequences that follow them. They are powerful and easily relatable to audiences because we all have secret desires. The wish can be expressed or implied and filled in by the audience but either way the story finds it. The response to the wish can be unexpected. Vogler continues to talk about the difference between want and need. This is because often heroes want something, their wish, but what they need is a life lesson to be learned along the journey. Another important aspect of story telling is identification because the themes must reflect the audience so that they are emotionally invested. Writers must also consider the wishes of the audience, the hero and even what the audience wants for the villain. Wishes must be put into action which leads us into willing which is the next logical step. The hero must be willing to take on the journey and willing to pay the price. Wishing and willing bring the story to life.
Reaction
In this section of the text, Vogler’s passion for writing seems to surface greatly. He feels a strong connection to the written word which is nice to see, even inspiring. I agree that words hold a lot of power. I think that through stories we do learn a lot and it is sometimes an escape from our own worlds or just another way to enjoy our fantasies. However writing can be a powerful persuasive tool or form of communication so I understand the emphasis he places on it. I also agree that stories revolve around wishing. Just as we have already discussed, each hero needs to have a desire, something that propels them through the story, this is the same as the wish and without it there would be little emotional attachment behind his or her actions. Wishing of course leads to willing, assuming the hero makes it past the early stages of the journey to face the main ordeal. I do think there are several exceptions and variations, but he has discussed this in detail previously. I’m not sure that I agree with his statement that writers need solitude because sometimes I think writers are inspired by the outside world around them which taps into natural and relatable aspects as opposed to imagined worlds that exist within the writer’s head alone. I think that Vogler has made several good points throughout this text over the past weeks and there is a lot to be learned from him. There is also so much for him to continue learning, as he mentioned, as writers continue to break the mold.
Questions
Are stories really like shamans? Is this necessary or can stories survive without it?
Are stories alive, why or why not?
Does the audience need identification for success?
Friday, November 14, 2008
Reflection
My rhetorical analyses were easily related to Project 2, which was about the social roles of wolves in relation to the animalistic social roles of people. My modes included novels like White Fang and children movies like the Jungle Book. I think that the photo I used was not a well known visual but it worked because it was a photo of wolves surviving together in the wild naturally. I think photos like that help to open the mind of individuals who are scared to learn about something outside of their personal realm. My song could have been better, although I could not think of anything. When trying to find the appeals in it I realized that it was interesting because it combined emotion with animalistic behaviors and predation. I thought it was an interesting way to combine people and wolves molding the behaviors together.
My interview from Lauren Highfill was very helpful. She had a lot of ideas about animal behaviors especially social interactions. She included several species of animals and applied it to many instances of human behaviors like soldiers in war or kids in highschool cliques. She took a lot of time to think about the questions I had asked and gave very detailed answers with examples.
For project three, I am hoping to volunteer my time at the humane society working with animals who might be on the verge between wilderness and domestication. I think it will be nice to help with them, because I think it is an area of society that needs some special attention and in general our society should be more focused on caring for and protecting animals and the environment.
I don't know yet who I will interview but hopefully I can find someone with personal stories about wild animals and pack behavior whether it be wolves, dogs, dolphins or anything else. Another possibility is that of human behaviors. One individual could be the alpha individual in a group or it could be someone who feels inadequate to a larger group. I need to spend more time trying to find a good interview to add some more knowledge.
I think that I have learned a lot about wolves and pack behaviors. I am interested to continue my search although I am not sure I will learn much more. I included a lot of research in my final paper, not including several other sources that I read through prior to the paper because there was no connection the the topic. I have to make contact with the humane society and begin to volunteer and hopefully make some difference. I need to conduct an interview and then find an effective way to present and relay this information to others, hopefully convincing them of the importance of this topic!
My interview from Lauren Highfill was very helpful. She had a lot of ideas about animal behaviors especially social interactions. She included several species of animals and applied it to many instances of human behaviors like soldiers in war or kids in highschool cliques. She took a lot of time to think about the questions I had asked and gave very detailed answers with examples.
For project three, I am hoping to volunteer my time at the humane society working with animals who might be on the verge between wilderness and domestication. I think it will be nice to help with them, because I think it is an area of society that needs some special attention and in general our society should be more focused on caring for and protecting animals and the environment.
I don't know yet who I will interview but hopefully I can find someone with personal stories about wild animals and pack behavior whether it be wolves, dogs, dolphins or anything else. Another possibility is that of human behaviors. One individual could be the alpha individual in a group or it could be someone who feels inadequate to a larger group. I need to spend more time trying to find a good interview to add some more knowledge.
I think that I have learned a lot about wolves and pack behaviors. I am interested to continue my search although I am not sure I will learn much more. I included a lot of research in my final paper, not including several other sources that I read through prior to the paper because there was no connection the the topic. I have to make contact with the humane society and begin to volunteer and hopefully make some difference. I need to conduct an interview and then find an effective way to present and relay this information to others, hopefully convincing them of the importance of this topic!
Sunday, November 9, 2008
Four Modes
1. The book White Fang by Jack London is a very interesting piece. It includes descriptive language. It is the companion novel to London's Call of the Wild. White Fang examines the violent world of wild animals and the violent world of so-called civilized humans. The story follows White Fang, a pup who is terrorized early on. The rough childhood leads the pup to a life of aggression, getting into fights bigger than he can handle. Scott saves the pup and brings him to California. White Fang thrives here and mates with Collie having pups of their own. This narrative allows for a different perspective of an animal observing bother animals and humans. Ethos is shown through the treatment of the animals and the people in the wild, espeically in the opening scenes when the men are devoured by White Fang's mother. Pathos is shown through the fear that the men portray when alone in the wild. Logos is shown when Scott takes in White Fang, saving his life. This presentation shows the dangers of the wild and the differences it has with a controlled society. The rhetorical appeals help to capture the audience and bring them into Jack London's world.
http://www.enotes.com/white-fang-text/
2. The movie The Jungle Book is a classic children's movie, yet if it is looked at more closely it can become a valuable tool. This cartoon shows the need for companionship in both humans and animals. The young boy is raised by wolves and lives with animals in the wild. The animals exist in social networks combining their needs with that of a human boy. This presentation does target a younger audience, but no specific audience. The drama in the film lends itself to rhetorical appeals because it involved emotion. Logically the film shows a social need between the species shown as well as a hierarchy within the jungle. I think that this film can easily teach the basic ideas of my research.
http://disney.go.com/disneyvideos/animatedfilms/junglebook/
3. The song Hungry Like the Wolf includes interesting lyrics from Duran Duran. What is most interesting about this presentation is that it compares human emotions with wild animals. In this song, wolves and humans are compared. It is in some ways a love song, yet it is an aggressive one. This song evokes emotion, pathos, but also indicates that wolves are hungry and viscious, ethos. The comparison itself is an issue of logos. This presentation is sung by male performers so it is targeted at a female audience. It is not for a generation that is too young to understand it but there is no maximum limit. It can teach others about the powerful emotion of love and desire, but it also comments on the strong similarities that exist between species, so close that they can be used to explain one another.
http://www.lyricsfreak.com/d/duran+duran/hungry+like+the+wolf_20043615.html
4. The photograph is an image of a wolf pack together in the wild. This picture shows five wolves together, presumably a family. One wolf of the pack is standing much taller than the others, dominating, so it could be assumed that it is the alpha dog. This presentation is making a strong statement that wolves exist naturally in packs. These five dogs are together in open spaces and it is a real photograph so they are naturally placed. This image has no designated gender or age. Pathos exists naturally when observing images of wild animals that survive on their own because it is something few people can understand, although at the same time logos gives us the opportunity to observe the similarities because we live in family groups just like this one. This photograph can help put the ideas of wolves in social networks into a visual representation which is a convincing media.
http://images.google.com/imgres?imgurl=http://biology.kenyon.edu/stures/compsbergdahl/wolves-photos/pack%2520closer.jpg&imgrefurl=http://biology.kenyon.edu/stures/compsbergdahl/structure.html&h=243&w=344&sz=20&hl=en&start=2&sig2=UPKPM8tIOZZN27gKqykQiQ&usg=__fn7jqh-WNu3fxroPI6yEV6-EfVQ=&tbnid=r-FUaRgYWFe6xM:&tbnh=85&tbnw=120&ei=aCMOSauSLIqSebis2LsE&prev=/images%3Fq%3Dwolf%2Bpacks%26gbv%3D2%26hl%3Den
http://www.enotes.com/white-fang-text/
2. The movie The Jungle Book is a classic children's movie, yet if it is looked at more closely it can become a valuable tool. This cartoon shows the need for companionship in both humans and animals. The young boy is raised by wolves and lives with animals in the wild. The animals exist in social networks combining their needs with that of a human boy. This presentation does target a younger audience, but no specific audience. The drama in the film lends itself to rhetorical appeals because it involved emotion. Logically the film shows a social need between the species shown as well as a hierarchy within the jungle. I think that this film can easily teach the basic ideas of my research.
http://disney.go.com/disneyvideos/animatedfilms/junglebook/
3. The song Hungry Like the Wolf includes interesting lyrics from Duran Duran. What is most interesting about this presentation is that it compares human emotions with wild animals. In this song, wolves and humans are compared. It is in some ways a love song, yet it is an aggressive one. This song evokes emotion, pathos, but also indicates that wolves are hungry and viscious, ethos. The comparison itself is an issue of logos. This presentation is sung by male performers so it is targeted at a female audience. It is not for a generation that is too young to understand it but there is no maximum limit. It can teach others about the powerful emotion of love and desire, but it also comments on the strong similarities that exist between species, so close that they can be used to explain one another.
http://www.lyricsfreak.com/d/duran+duran/hungry+like+the+wolf_20043615.html
4. The photograph is an image of a wolf pack together in the wild. This picture shows five wolves together, presumably a family. One wolf of the pack is standing much taller than the others, dominating, so it could be assumed that it is the alpha dog. This presentation is making a strong statement that wolves exist naturally in packs. These five dogs are together in open spaces and it is a real photograph so they are naturally placed. This image has no designated gender or age. Pathos exists naturally when observing images of wild animals that survive on their own because it is something few people can understand, although at the same time logos gives us the opportunity to observe the similarities because we live in family groups just like this one. This photograph can help put the ideas of wolves in social networks into a visual representation which is a convincing media.
http://images.google.com/imgres?imgurl=http://biology.kenyon.edu/stures/compsbergdahl/wolves-photos/pack%2520closer.jpg&imgrefurl=http://biology.kenyon.edu/stures/compsbergdahl/structure.html&h=243&w=344&sz=20&hl=en&start=2&sig2=UPKPM8tIOZZN27gKqykQiQ&usg=__fn7jqh-WNu3fxroPI6yEV6-EfVQ=&tbnid=r-FUaRgYWFe6xM:&tbnh=85&tbnw=120&ei=aCMOSauSLIqSebis2LsE&prev=/images%3Fq%3Dwolf%2Bpacks%26gbv%3D2%26hl%3Den
Vogler's Journey Applied
Vogler, Christopher. “Looking Back on the Journey.” The Writer's Journey: Mythic
Structure for Writers. Third. Studio City, CA: Michael Wiese Productions, 2007.
Summary
In this section, Vogler applies the Hero’s Journey to Titanic, The Lion King, Pulp Fiction, and The Full Monty. First, he explains that not all stories follow the guidelines he has presented and states that stories are sometimes more interesting if they do stray from the journey. He also says that more is being learned about these steps as stories continue to be written. He suggests finding metaphors for writing stories and continuing the investigation of the Hero’s Journey.
Vogler begins with Titanic claiming that Brock Lovett, the Old Rose, and the young Rose and Jack are all heroes to be followed for the story. The story is one that everyone knows so there is no surprise, it is an older story and it is a tragic one as well, which gave reason for the movie to fail. Surprisingly, it didn’t. It became a very popular film because it followed structure, although complex. Vogler brings out the heroes explaining the differences, like Jack who can be considered a catalyst hero, already fulfilled and spreading his joy of life with others on the ship and then performing the ultimate sacrifice of giving his life for love. Other sacrifices are shown like when the Old Rose drops her valuable necklace into the ocean. Several old worlds are shown, like the docks and several special worlds are shown for each hero. These can include first class for Jack, the lower classes for Rose, the dream for Rose, the story for Brock. This story shows several journeys that incorporate most if not all of the steps. There are villains like Cal, mentors like Molly Brown, guards as threshold guardians and many more.
In The Lion King, Simba is a classic hero. His heroes include his father and then the spirit of his father, Rafiki, Timon, Pumba, and Nala. These characters are all allies as well. The shadow, and villain, of the story is Scar along with his hyena followers. Simba follows the journey with a call and then disobediently refusing it. Throughout the story, he matures and is able to overcome many tests and eventually the ordeal where he faces death. He is rewarded after learning his lessons and becomes a strong leader of his kingdom.
Pulp Fiction is a post modern example of the Hero’s Journey. It is interesting because it is a unique film that does not follow many guidelines. As in Titanic, there are multiple heroes that can be followed: Vincent, Jules and Butch The story begins with the refusal to the call which is an interesting change and immediately sets up the risk and danger of the adventure that will take place. There are distinct ordinary worlds that are left behind and special worlds which the hero decide to enter. Mia is a female shapeshifter for them as well. They cross thresholds like entering the apartment of the three young guys. Marsellus is both a mentor and a herald in this film. This story mixes up the stages of the journey and entwines the three heroes, but this is what makes the film appealing to the younger generations because it is something different from the classic story.
The Full Monty is another example with its hero, Gaz. He has both outer and inner conflicts to overcome. He has a call to adventure followed by several refusals. His mentor is his son Nathan. He crosses the threshold and turns enemies into friends. His ordeal includes an encounter with death. There are other threads of the story as well, just not as dominant.
Reaction
I liked that Vogler included the idea that some of the best stories do not follow the guidelines of the journey and that they remain only guidelines. In class, all of our questions are whether or not there are examples that do not include each step and it is clear that they are not all necessary and that our newer generations appreciate a change from the typical storyline. I enjoyed his discussion about the Titanic, as that was once my favorite movie and I have seen it several times. It was interesting to see how there are so many journeys within one story where I would have only seen Rose and Jack as the protagonists. Each character undergoes a journey and changes by the end of the film. I had also never noticed such differences in the characters. Jack was fully developed at the start of the film whereas Rose really did have a lot to turn and made the most change by the end. Subtle elements of the film were revealed in this discussion. I also liked Vogler’s ideas about The Lion King. I had never realized how similar it was to Hamlet. I do agree that Simba is a very classic hero, young and maturing throughout the story because of such an ordeal. There are clear mentors, allies, and villains in this story as well. Each step is clear and easy to follow. Pulp Fiction is definitely a twisted version of the journey, but surprisingly it can be applied as well. I have only seen this film one time so it was hard to remember all of the plot to apply it to the steps but after reading this section it was easy to understand how the ideas fit together and how the journey was applied to all three heroes. I have not seen the Full Monty so it was hard for me to try and understand this section clearly.
Questions
Can you think of any films that defy the journey completely?
Do stories benefit from having multiple heroes to follow like Pulp Fiction or is one better like The Lion King?
Did you notice all of the heroes in Titanic and in Pulp Fiction before reading this?
Structure for Writers. Third. Studio City, CA: Michael Wiese Productions, 2007.
Summary
In this section, Vogler applies the Hero’s Journey to Titanic, The Lion King, Pulp Fiction, and The Full Monty. First, he explains that not all stories follow the guidelines he has presented and states that stories are sometimes more interesting if they do stray from the journey. He also says that more is being learned about these steps as stories continue to be written. He suggests finding metaphors for writing stories and continuing the investigation of the Hero’s Journey.
Vogler begins with Titanic claiming that Brock Lovett, the Old Rose, and the young Rose and Jack are all heroes to be followed for the story. The story is one that everyone knows so there is no surprise, it is an older story and it is a tragic one as well, which gave reason for the movie to fail. Surprisingly, it didn’t. It became a very popular film because it followed structure, although complex. Vogler brings out the heroes explaining the differences, like Jack who can be considered a catalyst hero, already fulfilled and spreading his joy of life with others on the ship and then performing the ultimate sacrifice of giving his life for love. Other sacrifices are shown like when the Old Rose drops her valuable necklace into the ocean. Several old worlds are shown, like the docks and several special worlds are shown for each hero. These can include first class for Jack, the lower classes for Rose, the dream for Rose, the story for Brock. This story shows several journeys that incorporate most if not all of the steps. There are villains like Cal, mentors like Molly Brown, guards as threshold guardians and many more.
In The Lion King, Simba is a classic hero. His heroes include his father and then the spirit of his father, Rafiki, Timon, Pumba, and Nala. These characters are all allies as well. The shadow, and villain, of the story is Scar along with his hyena followers. Simba follows the journey with a call and then disobediently refusing it. Throughout the story, he matures and is able to overcome many tests and eventually the ordeal where he faces death. He is rewarded after learning his lessons and becomes a strong leader of his kingdom.
Pulp Fiction is a post modern example of the Hero’s Journey. It is interesting because it is a unique film that does not follow many guidelines. As in Titanic, there are multiple heroes that can be followed: Vincent, Jules and Butch The story begins with the refusal to the call which is an interesting change and immediately sets up the risk and danger of the adventure that will take place. There are distinct ordinary worlds that are left behind and special worlds which the hero decide to enter. Mia is a female shapeshifter for them as well. They cross thresholds like entering the apartment of the three young guys. Marsellus is both a mentor and a herald in this film. This story mixes up the stages of the journey and entwines the three heroes, but this is what makes the film appealing to the younger generations because it is something different from the classic story.
The Full Monty is another example with its hero, Gaz. He has both outer and inner conflicts to overcome. He has a call to adventure followed by several refusals. His mentor is his son Nathan. He crosses the threshold and turns enemies into friends. His ordeal includes an encounter with death. There are other threads of the story as well, just not as dominant.
Reaction
I liked that Vogler included the idea that some of the best stories do not follow the guidelines of the journey and that they remain only guidelines. In class, all of our questions are whether or not there are examples that do not include each step and it is clear that they are not all necessary and that our newer generations appreciate a change from the typical storyline. I enjoyed his discussion about the Titanic, as that was once my favorite movie and I have seen it several times. It was interesting to see how there are so many journeys within one story where I would have only seen Rose and Jack as the protagonists. Each character undergoes a journey and changes by the end of the film. I had also never noticed such differences in the characters. Jack was fully developed at the start of the film whereas Rose really did have a lot to turn and made the most change by the end. Subtle elements of the film were revealed in this discussion. I also liked Vogler’s ideas about The Lion King. I had never realized how similar it was to Hamlet. I do agree that Simba is a very classic hero, young and maturing throughout the story because of such an ordeal. There are clear mentors, allies, and villains in this story as well. Each step is clear and easy to follow. Pulp Fiction is definitely a twisted version of the journey, but surprisingly it can be applied as well. I have only seen this film one time so it was hard to remember all of the plot to apply it to the steps but after reading this section it was easy to understand how the ideas fit together and how the journey was applied to all three heroes. I have not seen the Full Monty so it was hard for me to try and understand this section clearly.
Questions
Can you think of any films that defy the journey completely?
Do stories benefit from having multiple heroes to follow like Pulp Fiction or is one better like The Lion King?
Did you notice all of the heroes in Titanic and in Pulp Fiction before reading this?
Sunday, November 2, 2008
Elements about Wolf Packs
Four elements for Project 3 that relate to ideas of Project 2.
Project 2 discusses social relationships and behaviors of wolves in packs.
Book: White Fang
Film: The Jungle Book
Song: Hungry Like the Wolf
Visual: A picture of a pack http://images.google.com/imgres?imgurl=http://biology.kenyon.edu/stures/compsbergdahl/wolves-photos/pack%2520closer.jpg&imgrefurl=http://biology.kenyon.edu/stures/compsbergdahl/structure.html&h=243&w=344&sz=20&hl=en&start=2&sig2=UPKPM8tIOZZN27gKqykQiQ&usg=__fn7jqh-WNu3fxroPI6yEV6-EfVQ=&tbnid=r-FUaRgYWFe6xM:&tbnh=85&tbnw=120&ei=aCMOSauSLIqSebis2LsE&prev=/images%3Fq%3Dwolf%2Bpacks%26gbv%3D2%26hl%3Den
Project 2 discusses social relationships and behaviors of wolves in packs.
Book: White Fang
Film: The Jungle Book
Song: Hungry Like the Wolf
Visual: A picture of a pack http://images.google.com/imgres?imgurl=http://biology.kenyon.edu/stures/compsbergdahl/wolves-photos/pack%2520closer.jpg&imgrefurl=http://biology.kenyon.edu/stures/compsbergdahl/structure.html&h=243&w=344&sz=20&hl=en&start=2&sig2=UPKPM8tIOZZN27gKqykQiQ&usg=__fn7jqh-WNu3fxroPI6yEV6-EfVQ=&tbnid=r-FUaRgYWFe6xM:&tbnh=85&tbnw=120&ei=aCMOSauSLIqSebis2LsE&prev=/images%3Fq%3Dwolf%2Bpacks%26gbv%3D2%26hl%3Den
Vogler and the Elixir
Vogler, Christopher. “The Resurrection- Return with the Elixir.” The Writer's
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
Vogler begins discussing the hero’s resurrection, which is the climax of the story. Sometimes this can be shown by a hero’s change in personality which is created for the new world to incorporate the lessons learned along the journey. The hero can also be cleansed of the ordeal so that they can be peaceful in society again. Sometimes there are two climaxes one in the middle and one at the end. There is often a physical ordeal where the hero might face death one last time. The active hero is important too, sometimes allies come through, but it is best for the hero to pull through. Showdowns are the biggest confrontations with the highest stakes between the hero and the villain. Sometimes tragic heroes die at the end of the story. Choices are also a big part of the hero’s journey testing his or her values. The choice can be a romantic one as well. The climax can be quiet which is gentle emotion and that the tensions have been eased. Rolling climaxes may be a series of events that might be experienced on different levels. Catharsis is an emotional release often felt at the end of stories by the audience. It is best expressed through tears and laughter. The resurrection is also the hero’s last chance for change and there can be missteps here. Missteps can create drama. A false claimant may come forward and question the hero who often needs to return from the special world with proof. Heroes must often sacrifice something during the climax, too. At this point the hero shows what he or she has learned and how they have changed. The old self should be dead and the new self would not make the same mistakes.
The next step of the journey is the return with the elixir in which the hero brings something he or she has learned to share with others. There are two story forms: circular and open ended. The circular form is most common and most popular. Here the story comes back to the beginning, either returning home or repeating an initial image. This provides for comparison. Many stories like to end with weddings or some sort of happily ever after moment. The open ended story concludes with loose ends, it continues in the audience. Returns might also have surprises, without them the story could end flatly. At this stage rewards and punishments are handed out. Villains should earn their fate and heroes should get their reward, only if they have earned it. The elixir is the prize it can be a literal treasure or medicine or a figurative lesson that the hero should share so as not to be greedy and selfish. Love is a good example of an elixir. Sometimes the world is altered, not just the hero. There can be elixirs of responsibility or tragedy. Heroes can be sadder but wiser, learning from their mistakes, but there can also be sadder but not wiser heroes that do not seem to understand their mistakes and will not learn from the experience. Epilogues can also be used to tell about the characters in the future and tie up the ends. There are also several pitfalls of the return like unresolved subplots, too many endings, abrupt endings, or a lack of focus. Punctuation can be used to understand ways of ending stories, period, exclamation, question or ellipsis.
Reaction
Vogler makes several good points, bringing up ideas that had never occurred to me. These steps are important for the hero because they tie up the story and leave the audience with a sense of finality. This is when we see how the hero has changed and what they have learned to share with the rest of their world. We are emotionally invested at the time of the climax and interested to see if the hero defeats the villain. I think its interesting that he says all of the old hero must die, I’m not sure that is true because many heroes begin with several good qualities that they cannot and do not lose. I liked the observation that stories can be circular or open ended because they definitely fall into one of those two categories. I think the circular stories are more common and more satisfying because there is a distinct end, however open ended stories seem to be becoming more popular, almost a modern twist. They often lead to sequels. I wonder about Vogler’s idea that heroes sometimes receive awards that they did not earn. I have trouble thinking of many examples of this although it seems like a typical idea that there must be some. Not all villains receive the punishments they deserve, and sometimes heroes receive punishments that they do not seem to have earned. I think this idea is interesting and could be furthered.
Questions
Must all of the old self of the hero die before the new self can return?
What are some examples of heroes who have received rewards without earning
them?
Do you have a preference for circular or open ended story forms and why?
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
Vogler begins discussing the hero’s resurrection, which is the climax of the story. Sometimes this can be shown by a hero’s change in personality which is created for the new world to incorporate the lessons learned along the journey. The hero can also be cleansed of the ordeal so that they can be peaceful in society again. Sometimes there are two climaxes one in the middle and one at the end. There is often a physical ordeal where the hero might face death one last time. The active hero is important too, sometimes allies come through, but it is best for the hero to pull through. Showdowns are the biggest confrontations with the highest stakes between the hero and the villain. Sometimes tragic heroes die at the end of the story. Choices are also a big part of the hero’s journey testing his or her values. The choice can be a romantic one as well. The climax can be quiet which is gentle emotion and that the tensions have been eased. Rolling climaxes may be a series of events that might be experienced on different levels. Catharsis is an emotional release often felt at the end of stories by the audience. It is best expressed through tears and laughter. The resurrection is also the hero’s last chance for change and there can be missteps here. Missteps can create drama. A false claimant may come forward and question the hero who often needs to return from the special world with proof. Heroes must often sacrifice something during the climax, too. At this point the hero shows what he or she has learned and how they have changed. The old self should be dead and the new self would not make the same mistakes.
The next step of the journey is the return with the elixir in which the hero brings something he or she has learned to share with others. There are two story forms: circular and open ended. The circular form is most common and most popular. Here the story comes back to the beginning, either returning home or repeating an initial image. This provides for comparison. Many stories like to end with weddings or some sort of happily ever after moment. The open ended story concludes with loose ends, it continues in the audience. Returns might also have surprises, without them the story could end flatly. At this stage rewards and punishments are handed out. Villains should earn their fate and heroes should get their reward, only if they have earned it. The elixir is the prize it can be a literal treasure or medicine or a figurative lesson that the hero should share so as not to be greedy and selfish. Love is a good example of an elixir. Sometimes the world is altered, not just the hero. There can be elixirs of responsibility or tragedy. Heroes can be sadder but wiser, learning from their mistakes, but there can also be sadder but not wiser heroes that do not seem to understand their mistakes and will not learn from the experience. Epilogues can also be used to tell about the characters in the future and tie up the ends. There are also several pitfalls of the return like unresolved subplots, too many endings, abrupt endings, or a lack of focus. Punctuation can be used to understand ways of ending stories, period, exclamation, question or ellipsis.
Reaction
Vogler makes several good points, bringing up ideas that had never occurred to me. These steps are important for the hero because they tie up the story and leave the audience with a sense of finality. This is when we see how the hero has changed and what they have learned to share with the rest of their world. We are emotionally invested at the time of the climax and interested to see if the hero defeats the villain. I think its interesting that he says all of the old hero must die, I’m not sure that is true because many heroes begin with several good qualities that they cannot and do not lose. I liked the observation that stories can be circular or open ended because they definitely fall into one of those two categories. I think the circular stories are more common and more satisfying because there is a distinct end, however open ended stories seem to be becoming more popular, almost a modern twist. They often lead to sequels. I wonder about Vogler’s idea that heroes sometimes receive awards that they did not earn. I have trouble thinking of many examples of this although it seems like a typical idea that there must be some. Not all villains receive the punishments they deserve, and sometimes heroes receive punishments that they do not seem to have earned. I think this idea is interesting and could be furthered.
Questions
Must all of the old self of the hero die before the new self can return?
What are some examples of heroes who have received rewards without earning
them?
Do you have a preference for circular or open ended story forms and why?
Wednesday, October 29, 2008
The Bell Jar
Sylvia Plath's text, The Bell Jar, provided for an interesting story line. Esther is the hero of this story undergoing a journey through the asylum she is hoping to leave. While she resides here, Esther faces many tests and allies. First, she faces the test of losing her virginity to Irwin. In turn, she is forced to hide her blood stained towels from her friend Joan and must visit the emergency room for help. After she makes it through this first test, Esther comes to find out that her friend Joan has committed suicide. Esther must attend the funeral as one of Joan's best friends. Eventually, Esther survives her tests and overcomes the main ordeal of being "crazy". Her reward is being able to leave the asylum, which is implied in this text.
Tuesday, October 28, 2008
Vogler's Reward
Vogler, Christopher. “Reward- The Road Back.” The Writer's
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
Vogler beings to discuss the next step after the ordeal and that is the reward. The hero now has to deal with any consequences but also savors the pleasure of victory. There are several ways this can be shown. The first is through celebration. It is natural for heroes to celebrate the completion of the ordeal and recuperate. This joy can also be seen through campfires which also gives time for jokes and reminiscing. Love scenes also occur here when the hero has earned them. Sometimes the hero now takes possession of something he or she was searching for in the beginning. Another name for this might be seizing the sword; a treasure might even be stolen by the hero. Elixir theft is similar, sometimes the hero is required to steal it, and it can be the secret of life and death. Initiation may result as a reward from the ordeal as might new perceptions, self realization, or the ability to see through deception. A hero might also have an epiphany; a realization of divinity, sometimes surviving death might give this impression. There can also be distortions causing the hero to have an over inflated ego. The following step of the journey is the road back. The energy of the story can pick up again here as we move into the final act of the story. Motivation is one cause for this when the hero rededicates themselves to the adventure. Retaliation to finish off the villain may be another cause. Chase scenes can be an effective technique because audiences enjoy it. The magic flight is the whimsical transformation of objects during the chase. The chase may be between heroes and villains or between heroes and admirers. Sometimes the road back can deal with an escaped villain or other setbacks. In the end, the hero hopes to return to the ordinary world with his or her reward from the special world.
Response
I like the idea that the reward stage can occur with so many varieties, like generic celebration to campfires to love scenes. Although Vogler says heroes must earn the love, I think that some heroes are fortunate to have this before the ordeal begins. I agree with him that heroes take this time to restore energy that was used during the ordeal. This may make this downtime for the story but it is needed and the audience’s attention is resumed during the road back in which other crises may occur. I like that there are smaller obstacles the hero might have to overcome here. I think the ideas of retaliation or chasing with the villain is interesting and common in most stories. I like the varieties of reward as well including self realization and epiphany; sometimes these are the most precious rewards. The journey can be material versus emotional or vice versa. These differences keep stories interesting.
Questions
Must heroes earn love or is this something they can have before?
What other kinds of celebration do heroes experience?
Are there stories that end on the road back, do some heroes never return home?
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
Vogler beings to discuss the next step after the ordeal and that is the reward. The hero now has to deal with any consequences but also savors the pleasure of victory. There are several ways this can be shown. The first is through celebration. It is natural for heroes to celebrate the completion of the ordeal and recuperate. This joy can also be seen through campfires which also gives time for jokes and reminiscing. Love scenes also occur here when the hero has earned them. Sometimes the hero now takes possession of something he or she was searching for in the beginning. Another name for this might be seizing the sword; a treasure might even be stolen by the hero. Elixir theft is similar, sometimes the hero is required to steal it, and it can be the secret of life and death. Initiation may result as a reward from the ordeal as might new perceptions, self realization, or the ability to see through deception. A hero might also have an epiphany; a realization of divinity, sometimes surviving death might give this impression. There can also be distortions causing the hero to have an over inflated ego. The following step of the journey is the road back. The energy of the story can pick up again here as we move into the final act of the story. Motivation is one cause for this when the hero rededicates themselves to the adventure. Retaliation to finish off the villain may be another cause. Chase scenes can be an effective technique because audiences enjoy it. The magic flight is the whimsical transformation of objects during the chase. The chase may be between heroes and villains or between heroes and admirers. Sometimes the road back can deal with an escaped villain or other setbacks. In the end, the hero hopes to return to the ordinary world with his or her reward from the special world.
Response
I like the idea that the reward stage can occur with so many varieties, like generic celebration to campfires to love scenes. Although Vogler says heroes must earn the love, I think that some heroes are fortunate to have this before the ordeal begins. I agree with him that heroes take this time to restore energy that was used during the ordeal. This may make this downtime for the story but it is needed and the audience’s attention is resumed during the road back in which other crises may occur. I like that there are smaller obstacles the hero might have to overcome here. I think the ideas of retaliation or chasing with the villain is interesting and common in most stories. I like the varieties of reward as well including self realization and epiphany; sometimes these are the most precious rewards. The journey can be material versus emotional or vice versa. These differences keep stories interesting.
Questions
Must heroes earn love or is this something they can have before?
What other kinds of celebration do heroes experience?
Are there stories that end on the road back, do some heroes never return home?
Monday, October 20, 2008
Adding the credit
Extra Credit:
For my random act of kindness, I bought my friend's dinner one night.
Links relating to my research paper:
http://www.youtube.com/watch?v=yArKo0B7-Jo
http://www.youtube.com/watch?v=Vv0FXQ8IA5A&feature=related
http://www.youtube.com/watch?v=y1gxa-Dij3k&feature=related
For my random act of kindness, I bought my friend's dinner one night.
Links relating to my research paper:
http://www.youtube.com/watch?v=yArKo0B7-Jo
http://www.youtube.com/watch?v=Vv0FXQ8IA5A&feature=related
http://www.youtube.com/watch?v=y1gxa-Dij3k&feature=related
Research Ideas
A summary of my strengths and weaknesses after having peers review my outline:
A strength seemed to be my unique topic idea, stated a few times. Also that I am comparing and contrasting wolves to people which is interesting.
Suggestions include narrowing the focus, finding the history of evolvement, researching a behavioral change due to human expansion, and appealing to a large audience.
A strength seemed to be my unique topic idea, stated a few times. Also that I am comparing and contrasting wolves to people which is interesting.
Suggestions include narrowing the focus, finding the history of evolvement, researching a behavioral change due to human expansion, and appealing to a large audience.
Sunday, October 19, 2008
What's Vogler's Ordeal?
Vogler, Christopher. “Approach to the Innermost Cave- The Ordeal.” The Writer's
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
Vogler begins a discussion with the approach to the innermost cave which is often terrifying and dangerous. He says there are different functions for this approach like making more plans, thinning the group, arm the team, have a last laugh. At this time, in romantic stories, the hero can bond with a loved one prior to the ordeal. Sometimes the hero boldly passes through to seek the ordeal and other times they prepare, arm themselves and gather information first. Vogler continues on to discuss the characters from the Wizard of Oz because their story is so classic and contains good examples of these steps. They go through obstacles and illusions before meeting the threshold guardians. Then they may enter another special world and should be prepared, a warning may follow. Another threshold may stand in the hero’s way and they may have to make an emotional appeal to the guardian. There is an impossible test which results in complications and might even raise the stakes. The hero might need to reorganize and expect heavy defenses. Also, at this point, archetypes or the hero may undergo some changes. The hero might have to get into the enemy’s mind to prepare for the ideal, too. There is often no exit, no way for the hero to escape the ordeal at this stage in the journey.
The ordeal is the biggest, most exciting part of the journey for the hero because it is the main action that they have been preparing for. “The hero must die so that they can be reborn.” This is the essence of this stage whether literal or not. The hero returns from the journey having changed because of their experience. It’s also important to note that the crisis, the point in the story when the hostile forces are most tense, is not the climax, which would occur later. There are central and delayed crises. The ordeal does have points of tension which are held in place by the story’s structure. Many stories depend on the point of view, but often a witness sees the hero “die”. Audiences like to see death because it evokes emotion and adventure. The emotions of the audience can be played with and shifts from low to high peaks. The hero often appears to die in front of witnesses, but then cheats death, or the hero witnesses death; sometimes the hero even causes death. The most common ordeal is a battle with the opposing forces, like the shadow which has both negative and positive aspects. The shadow is different from the villain. Demonization may happen as well, it is the projection of all things we dislike about ourselves. The death of the villain is an important part of the ordeal, and it should be hard to accomplish. Sometimes the villain manages to escape wounded only to appear later in the story. It is also important to realize that villains see themselves as heroes from another point of view. As far as romance goes, the crisis might be a fear of intimacy, or a moment of betrayal, it might even be sacred marriage when the hero is in a state of centered balance. Sometimes love can even manifest into a shape shifting lover. There could also be negative projections of the anima or animus. Sometimes the ordeal refers to a conflict of age whether it is older versus younger generations of between parents and children. The last bit of the discussion on the ordeal is the death of the ego when the hero has been reborn after facing the crisis.
Reaction
Once again, Vogler gave an in-depth analysis of two stages of the hero’s journey providing information and examples for several varieties of the store. First was the approach to the innermost cave which can be very dangerous and include many parts within itself like meeting the threshold guardians and organizing the team and preparing for the big ordeal. At this point the audience can feel the danger and suspense as they wait for the major action which draws them into the story. We like the threat of death or the loss of another character. For some reason, people are attracted to death. It is such a mystery to us that we try to experience it in small doses to understand. Because of this we watch and listen to scary stories or take part in thrilling adventures, like skydiving for example just to feel that rush.
The ordeal is definitely the most significant part of the journey because it is what the audience and the hero have been preparing for and thinking about. A lot takes place during this stage, the hero must face death or their greatest fear, the shadow. They must face the biggest test yet, which should be much harder than the smaller tests beforehand. They finally face the villain, and I like that Vogler mentions that the villain is a hero to himself and if the story were told differently we would see that. This is interesting because I have often thought of that. Although they are bad in our eyes, they are always fighting for their own cause and in their life they are doing what is just and the roles and emotional shifts are reversed. I also like that Vogler included romantic stories because the steps of the journey are very different from action packed stories. Despite the drastic differences they imply the same principles which allows for a lot of leeway in these journeys.
Questions
Do other genres have different steps, aside from typical actions and romances? Do the stages have small alterations you can think of?
Why does the hero need to approach the innermost cave without just barging through? What do they learn here, is it necessary?
Why do you think we want to identify with death so much, what is our fascination?
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
Vogler begins a discussion with the approach to the innermost cave which is often terrifying and dangerous. He says there are different functions for this approach like making more plans, thinning the group, arm the team, have a last laugh. At this time, in romantic stories, the hero can bond with a loved one prior to the ordeal. Sometimes the hero boldly passes through to seek the ordeal and other times they prepare, arm themselves and gather information first. Vogler continues on to discuss the characters from the Wizard of Oz because their story is so classic and contains good examples of these steps. They go through obstacles and illusions before meeting the threshold guardians. Then they may enter another special world and should be prepared, a warning may follow. Another threshold may stand in the hero’s way and they may have to make an emotional appeal to the guardian. There is an impossible test which results in complications and might even raise the stakes. The hero might need to reorganize and expect heavy defenses. Also, at this point, archetypes or the hero may undergo some changes. The hero might have to get into the enemy’s mind to prepare for the ideal, too. There is often no exit, no way for the hero to escape the ordeal at this stage in the journey.
The ordeal is the biggest, most exciting part of the journey for the hero because it is the main action that they have been preparing for. “The hero must die so that they can be reborn.” This is the essence of this stage whether literal or not. The hero returns from the journey having changed because of their experience. It’s also important to note that the crisis, the point in the story when the hostile forces are most tense, is not the climax, which would occur later. There are central and delayed crises. The ordeal does have points of tension which are held in place by the story’s structure. Many stories depend on the point of view, but often a witness sees the hero “die”. Audiences like to see death because it evokes emotion and adventure. The emotions of the audience can be played with and shifts from low to high peaks. The hero often appears to die in front of witnesses, but then cheats death, or the hero witnesses death; sometimes the hero even causes death. The most common ordeal is a battle with the opposing forces, like the shadow which has both negative and positive aspects. The shadow is different from the villain. Demonization may happen as well, it is the projection of all things we dislike about ourselves. The death of the villain is an important part of the ordeal, and it should be hard to accomplish. Sometimes the villain manages to escape wounded only to appear later in the story. It is also important to realize that villains see themselves as heroes from another point of view. As far as romance goes, the crisis might be a fear of intimacy, or a moment of betrayal, it might even be sacred marriage when the hero is in a state of centered balance. Sometimes love can even manifest into a shape shifting lover. There could also be negative projections of the anima or animus. Sometimes the ordeal refers to a conflict of age whether it is older versus younger generations of between parents and children. The last bit of the discussion on the ordeal is the death of the ego when the hero has been reborn after facing the crisis.
Reaction
Once again, Vogler gave an in-depth analysis of two stages of the hero’s journey providing information and examples for several varieties of the store. First was the approach to the innermost cave which can be very dangerous and include many parts within itself like meeting the threshold guardians and organizing the team and preparing for the big ordeal. At this point the audience can feel the danger and suspense as they wait for the major action which draws them into the story. We like the threat of death or the loss of another character. For some reason, people are attracted to death. It is such a mystery to us that we try to experience it in small doses to understand. Because of this we watch and listen to scary stories or take part in thrilling adventures, like skydiving for example just to feel that rush.
The ordeal is definitely the most significant part of the journey because it is what the audience and the hero have been preparing for and thinking about. A lot takes place during this stage, the hero must face death or their greatest fear, the shadow. They must face the biggest test yet, which should be much harder than the smaller tests beforehand. They finally face the villain, and I like that Vogler mentions that the villain is a hero to himself and if the story were told differently we would see that. This is interesting because I have often thought of that. Although they are bad in our eyes, they are always fighting for their own cause and in their life they are doing what is just and the roles and emotional shifts are reversed. I also like that Vogler included romantic stories because the steps of the journey are very different from action packed stories. Despite the drastic differences they imply the same principles which allows for a lot of leeway in these journeys.
Questions
Do other genres have different steps, aside from typical actions and romances? Do the stages have small alterations you can think of?
Why does the hero need to approach the innermost cave without just barging through? What do they learn here, is it necessary?
Why do you think we want to identify with death so much, what is our fascination?
Sunday, October 12, 2008
Vogler and Company
Vogler, Christopher. “Crossing the First Threshold- Tests, Allies, Enemies.” The Writer's
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
Vogler begins with the crossing of the first threshold in this section of the reading. This is the point when the hero willingly commits to his or her adventure and enters into the special world. This is a major plot point for the hero as he approaches the threshold. Either internal or external events, or a combination of the two, allow the hero to enter the second act, or the special world. They face decisions here and must make the choices to continue on their journey. At this point the hero encounters another of the archetypes, the threshold guardian. This is just another step in training the hero. Sometimes the threat of the guardian is just an illusion, other times they simply must be noted, and on rare occasions they may need to be overcome by the hero. Threshold guardians can go on to become allies or enemies from this stage. The actual crossing represents the border between the ordinary and the special world. These can be represented as physical barriers in many stories like gates or rivers. It should always be clear to the audience that a shift from act one to act two has been taken and this can be shown through music or visual contrasts. The hero uses his courage, or leap of faith, to make the change. Sometimes heroes have a rough landing. It can be exhausting or disorienting in this phase.
The tests, allies and enemies are important moments in act two for the hero. Testing is used to prepare the hero for the danger that lies ahead. These may be difficult to face but are not as serious as the later ordeal will be. Also during this stage of the journey, the hero makes both allies and enemies. Allies may include sidekicks which are characters that ride alongside the hero supporting the adventure. Comical sidekicks provide humor as well. Allies may sometimes cross the boundary between mentors and tricksters, too. In some stories, the hero forms a team of allies who come together during the adventure. Heroes also make enemies, these enemies could be archetypes like the shadow, trickster, or herald. One example of an enemy is the rival who is not as much out to kill the hero as he is to defeat him and compete. There are new rules in the special world that must be learned quickly in order to advance through these challenges. Watering holes are scenes where the hero enters a bar or saloon. In these places, like a hunter would do, the hero is staking out the adventure. Learning about his enemies and trying to find information and allies.
Reaction
As I’ve said many times, I think that Vogler has found a good way to classify and explain the typical hero’s journey including several exceptions and rules so that just about every story can fit the mold. I think that he did a good job of explaining the crossing of the first threshold as an important moment that we can relate to the shift between act one and act two of any story. It is also important to talk about the hero’s internal struggle at this point, making the decision to actually cross the threshold and overcome the guardian. My favorite part of this chapter was the very end when this stage was compared to a flight, a Disney metaphor. The preparation for take off is act one and the initial jump off of the ground is the threshold. It is the thrill of beginning an adventure, and we can all relate to that in some way or another. Tests, allies and enemies are also important because it gives the story some context otherwise we would watch or read about a hero who takes off, alone, without any interaction to do something without danger and without help; boring. The tests give suspense and danger, as well as help the hero to grow in order to eventually face the major ordeal of act three. Allies are great characters who often provide comedy or help to bring out another side of the hero for the audience to see and I think they are necessary for a good story. It is also someone to eventually compare the hero to. Enemies are, of course, important to show the danger and to challenge the hero. They serve the villain and encourage the hero to keep fighting on his or her adventure. The rival is definitely a common type of hero, different from a villain I think that the story could easily be seen from the other point of view in this case. I liked the idea of the watering hole but I’m not sure its entirely necessary to be a part of this stage in the journey.
Questions
Is the idea of the watering hole old fashioned? Does it still exist in films, aside from westerns? Is it necessary to accomplish what Vogler says it does?
Is one character archetype more important than the other, the enemy or ally?
Is there always a threshold guardian to guard the first crossing? Does it appear in other non-conventional forms?
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
Vogler begins with the crossing of the first threshold in this section of the reading. This is the point when the hero willingly commits to his or her adventure and enters into the special world. This is a major plot point for the hero as he approaches the threshold. Either internal or external events, or a combination of the two, allow the hero to enter the second act, or the special world. They face decisions here and must make the choices to continue on their journey. At this point the hero encounters another of the archetypes, the threshold guardian. This is just another step in training the hero. Sometimes the threat of the guardian is just an illusion, other times they simply must be noted, and on rare occasions they may need to be overcome by the hero. Threshold guardians can go on to become allies or enemies from this stage. The actual crossing represents the border between the ordinary and the special world. These can be represented as physical barriers in many stories like gates or rivers. It should always be clear to the audience that a shift from act one to act two has been taken and this can be shown through music or visual contrasts. The hero uses his courage, or leap of faith, to make the change. Sometimes heroes have a rough landing. It can be exhausting or disorienting in this phase.
The tests, allies and enemies are important moments in act two for the hero. Testing is used to prepare the hero for the danger that lies ahead. These may be difficult to face but are not as serious as the later ordeal will be. Also during this stage of the journey, the hero makes both allies and enemies. Allies may include sidekicks which are characters that ride alongside the hero supporting the adventure. Comical sidekicks provide humor as well. Allies may sometimes cross the boundary between mentors and tricksters, too. In some stories, the hero forms a team of allies who come together during the adventure. Heroes also make enemies, these enemies could be archetypes like the shadow, trickster, or herald. One example of an enemy is the rival who is not as much out to kill the hero as he is to defeat him and compete. There are new rules in the special world that must be learned quickly in order to advance through these challenges. Watering holes are scenes where the hero enters a bar or saloon. In these places, like a hunter would do, the hero is staking out the adventure. Learning about his enemies and trying to find information and allies.
Reaction
As I’ve said many times, I think that Vogler has found a good way to classify and explain the typical hero’s journey including several exceptions and rules so that just about every story can fit the mold. I think that he did a good job of explaining the crossing of the first threshold as an important moment that we can relate to the shift between act one and act two of any story. It is also important to talk about the hero’s internal struggle at this point, making the decision to actually cross the threshold and overcome the guardian. My favorite part of this chapter was the very end when this stage was compared to a flight, a Disney metaphor. The preparation for take off is act one and the initial jump off of the ground is the threshold. It is the thrill of beginning an adventure, and we can all relate to that in some way or another. Tests, allies and enemies are also important because it gives the story some context otherwise we would watch or read about a hero who takes off, alone, without any interaction to do something without danger and without help; boring. The tests give suspense and danger, as well as help the hero to grow in order to eventually face the major ordeal of act three. Allies are great characters who often provide comedy or help to bring out another side of the hero for the audience to see and I think they are necessary for a good story. It is also someone to eventually compare the hero to. Enemies are, of course, important to show the danger and to challenge the hero. They serve the villain and encourage the hero to keep fighting on his or her adventure. The rival is definitely a common type of hero, different from a villain I think that the story could easily be seen from the other point of view in this case. I liked the idea of the watering hole but I’m not sure its entirely necessary to be a part of this stage in the journey.
Questions
Is the idea of the watering hole old fashioned? Does it still exist in films, aside from westerns? Is it necessary to accomplish what Vogler says it does?
Is one character archetype more important than the other, the enemy or ally?
Is there always a threshold guardian to guard the first crossing? Does it appear in other non-conventional forms?
Sunday, October 5, 2008
I Search
1. Larger themes in my memoir.
Traveling on an adventure; experience, courage and confidence; gaining knowledge; culture differences; friendship or the need for acceptance, the need for companionship in a new place.
2. Need for companionship. Sports teams. Family. Best friends. Animals, pets. Work.
3. We all need companions and we rely on them for moral support among many other things. We have a variety of companions. I think its one of the most important things we have in life and it should be treated carefully. We all strive for the need to be accepted and our companions do that. I have made friends at work, and those friends convince me to go to work, allow me to enjoy my work and provide friendships. I've been on a swim team for years, the same varsity team throughout my four years of highschool and that group was comfortable and I needed them. I needed their support ot cheer me on and vice versa. To see them around school was comforting. Best friends and family are there for you and allow you to speak your mind and be yourself with no stress. I would be lost without these people to be there for me in any time of need whether big or small. Pets are also important. A lot of people rely on their pets for friendship. I have 2 dogs that I love. I feel important to take care of them, knowing that they need me and I need them to comfort me or play with me or be excited to see me come home. All of these forms of companionship are significant. In London, as I stated in my memoir, I needed and relied on my 15 roommates. We traveled together to new countries and explored the city of London together sharing many exciting memories that I will never forget. Without them I would not have been able to allow myself to be free in London. I needed to be with other people who were in the same situation as me, I needed to have those friends.
4. Questions.
Why do we need companionship so badly? Is it a survival need? Is one type of companionship better than the others, does it depend on the individual? Do different companions provide different services to the individual? How do companions change a situation, like an adventure or travels? When do we begin to find our true companions? What is the difference between other human companions or animals companions? Can companionship come from friends and strangers; can it be a positive or a negative experience? How does companionship grow over time, does it need to? Is one companion enough, or do we need new friends or groups? In what ways do companions show compassion, what characteristics make them useful to the individual? How does the relationship work to benefit both sides?
Traveling on an adventure; experience, courage and confidence; gaining knowledge; culture differences; friendship or the need for acceptance, the need for companionship in a new place.
2. Need for companionship. Sports teams. Family. Best friends. Animals, pets. Work.
3. We all need companions and we rely on them for moral support among many other things. We have a variety of companions. I think its one of the most important things we have in life and it should be treated carefully. We all strive for the need to be accepted and our companions do that. I have made friends at work, and those friends convince me to go to work, allow me to enjoy my work and provide friendships. I've been on a swim team for years, the same varsity team throughout my four years of highschool and that group was comfortable and I needed them. I needed their support ot cheer me on and vice versa. To see them around school was comforting. Best friends and family are there for you and allow you to speak your mind and be yourself with no stress. I would be lost without these people to be there for me in any time of need whether big or small. Pets are also important. A lot of people rely on their pets for friendship. I have 2 dogs that I love. I feel important to take care of them, knowing that they need me and I need them to comfort me or play with me or be excited to see me come home. All of these forms of companionship are significant. In London, as I stated in my memoir, I needed and relied on my 15 roommates. We traveled together to new countries and explored the city of London together sharing many exciting memories that I will never forget. Without them I would not have been able to allow myself to be free in London. I needed to be with other people who were in the same situation as me, I needed to have those friends.
4. Questions.
Why do we need companionship so badly? Is it a survival need? Is one type of companionship better than the others, does it depend on the individual? Do different companions provide different services to the individual? How do companions change a situation, like an adventure or travels? When do we begin to find our true companions? What is the difference between other human companions or animals companions? Can companionship come from friends and strangers; can it be a positive or a negative experience? How does companionship grow over time, does it need to? Is one companion enough, or do we need new friends or groups? In what ways do companions show compassion, what characteristics make them useful to the individual? How does the relationship work to benefit both sides?
Meeting with Vogler
Vogler, Christopher. “Refusal of the Call- Meeting with the Mentor.” The Writer's
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
Vogler discusses the refusal of the call to adventure in depth. The refusal is important because it shows the importance and the danger of the adventure to the audience. This is a “threshold of fear”. There are a few ways of refusing the initial adventure. The first is avoidance in which the hero simply tries to find excuses not to take on the adventure. Then there are excuses which are commonly offered as “temporary roadblocks” to refuse adventure. Sometimes consistent refusals can lead to tragedy because the hero is looking backwards and is denying reality. Other times the calls could conflict causing the hero to make choices of which to accept and which to refuse. Positive refusals happen when the hero is smart enough to realize that he or she should refuse the call to adventure because it could be disastrous. The artist as hero refers to heroes who refuse the call to adventure in order to take on the call of artistic expression. Willing heroes are the exception that eagerly seek the adventure and accept the call. Vogler also discusses the threshold guardian here, but we have already covered that character. The secret door implies the natural curiosity of humans to know secrets and the power they hold. Vogler continues to talk about the hero’s journey, moving onto the meeting with the mentor who is there to aid and provide help to the hero. The mentor is seen as a source of wisdom that the hero needs and in myths they are often wizards, doctors or gods. A good prototype to use when thinking about mentors is Chiron. Chiron is a centaur who trained many Greek heroes and gives us the idea of how a mentor should be. The mentor gives the hero confidence and gets the story rolling. There are several clichés that can trap the archetypes so it is important that the story bring something new to the table. Misdirection is clearly when the mentor misleads the hero which can be interesting to the audience. It is possible that the mentor and hero conflict if one is too ungrateful or one turns to the villain. The mentor is very important and sometimes stories are mentor driven. Another interesting idea from Vogler is that the mentor is an evolved hero who has learned from his own adventures and becomes able to teach.
Reaction
I like that in Vogler’s text he accounts for the uniqueness of stories today, as we are trying to come up with original ideas in our post screwed world. I think that each step is important no matter how it is manipulated. I like that the refusal of the call shows the audience the threat that the hero is facing because their final acceptance makes them all the more heroic for overcoming the threshold of fear. I am also glad he included willing heroes because some heroes, like ones seeking revenge, would seek the danger and nnot bother to refuse it. The meeting with the mentor is so important and with the abundance of mentor types its nearly impossible to think of a story that does not somehow include this aspect. It’s an important moment for the hero and for the audience to realize that the hero is imperfect and needs some sort of assistance, no matter what form it comes in or what might change by the end of the journey.
Questions
Can you explain the artist as hero?
What are some film examples of willing heroes?
Besides the discussion of Chiron, what are examples of influential mentors?
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
Vogler discusses the refusal of the call to adventure in depth. The refusal is important because it shows the importance and the danger of the adventure to the audience. This is a “threshold of fear”. There are a few ways of refusing the initial adventure. The first is avoidance in which the hero simply tries to find excuses not to take on the adventure. Then there are excuses which are commonly offered as “temporary roadblocks” to refuse adventure. Sometimes consistent refusals can lead to tragedy because the hero is looking backwards and is denying reality. Other times the calls could conflict causing the hero to make choices of which to accept and which to refuse. Positive refusals happen when the hero is smart enough to realize that he or she should refuse the call to adventure because it could be disastrous. The artist as hero refers to heroes who refuse the call to adventure in order to take on the call of artistic expression. Willing heroes are the exception that eagerly seek the adventure and accept the call. Vogler also discusses the threshold guardian here, but we have already covered that character. The secret door implies the natural curiosity of humans to know secrets and the power they hold. Vogler continues to talk about the hero’s journey, moving onto the meeting with the mentor who is there to aid and provide help to the hero. The mentor is seen as a source of wisdom that the hero needs and in myths they are often wizards, doctors or gods. A good prototype to use when thinking about mentors is Chiron. Chiron is a centaur who trained many Greek heroes and gives us the idea of how a mentor should be. The mentor gives the hero confidence and gets the story rolling. There are several clichés that can trap the archetypes so it is important that the story bring something new to the table. Misdirection is clearly when the mentor misleads the hero which can be interesting to the audience. It is possible that the mentor and hero conflict if one is too ungrateful or one turns to the villain. The mentor is very important and sometimes stories are mentor driven. Another interesting idea from Vogler is that the mentor is an evolved hero who has learned from his own adventures and becomes able to teach.
Reaction
I like that in Vogler’s text he accounts for the uniqueness of stories today, as we are trying to come up with original ideas in our post screwed world. I think that each step is important no matter how it is manipulated. I like that the refusal of the call shows the audience the threat that the hero is facing because their final acceptance makes them all the more heroic for overcoming the threshold of fear. I am also glad he included willing heroes because some heroes, like ones seeking revenge, would seek the danger and nnot bother to refuse it. The meeting with the mentor is so important and with the abundance of mentor types its nearly impossible to think of a story that does not somehow include this aspect. It’s an important moment for the hero and for the audience to realize that the hero is imperfect and needs some sort of assistance, no matter what form it comes in or what might change by the end of the journey.
Questions
Can you explain the artist as hero?
What are some film examples of willing heroes?
Besides the discussion of Chiron, what are examples of influential mentors?
Thursday, October 2, 2008
Memoir Revision Plan
Editing:
1. I'm going to specify my "it"s and "this"s. I need to clearly describe my ideas for the reader to follow each sentence.
2. I need to check my use of commas and semi colons. I need to consider the FANBOYS and make sure that sentences are connected properly and tell the reader the right way to read my story.
3. I want to weed through my sentences to make sure that I am using the best word to describe each idea as well as using a varied, interesting vocabulary.
Revision:
1. The end of my story needs work, a better wrap up. I want to make clear what I learned from my journey and I will add more to describe my growth.
2. I need to make sure that on a paragraph level, my ideas relate back to Vogler's idea of the hero's journey, and that my steps are clear.
3. In dealing with the specifics of my sentences like the its and this I think that I will need to add more to each paragraph to fully explain and describe my experience. I want it to be very detailed so that the reader can see and experience what I'm writing about because it is important to me.
1. I'm going to specify my "it"s and "this"s. I need to clearly describe my ideas for the reader to follow each sentence.
2. I need to check my use of commas and semi colons. I need to consider the FANBOYS and make sure that sentences are connected properly and tell the reader the right way to read my story.
3. I want to weed through my sentences to make sure that I am using the best word to describe each idea as well as using a varied, interesting vocabulary.
Revision:
1. The end of my story needs work, a better wrap up. I want to make clear what I learned from my journey and I will add more to describe my growth.
2. I need to make sure that on a paragraph level, my ideas relate back to Vogler's idea of the hero's journey, and that my steps are clear.
3. In dealing with the specifics of my sentences like the its and this I think that I will need to add more to each paragraph to fully explain and describe my experience. I want it to be very detailed so that the reader can see and experience what I'm writing about because it is important to me.
Monday, September 29, 2008
Rhetoric on Youtube
This week's extra credit was an interesting way to review rhetoric. The first video is a student from the Univ of Arizona creating a children's video with puppets to describe using rhetoric to stay up late or eat more candy. He gave examples for ethos pathos and logos in both scenarios.
The second video shows clips from films that used rhetoric. Men in Black could be a combo of logos and ethos when he shoots the girl. The Breakfast Club might be a combo of ethos and pathos. In Monty Python the crowd uses logos to see if they can burn a witch. Finally in Monsters Inc uses pathos.
The second video shows clips from films that used rhetoric. Men in Black could be a combo of logos and ethos when he shoots the girl. The Breakfast Club might be a combo of ethos and pathos. In Monty Python the crowd uses logos to see if they can burn a witch. Finally in Monsters Inc uses pathos.
Saturday, September 27, 2008
Rhetorical Appeals
Pathos-
Song: I'm Proud to be an American- Lee Greenwood
Picture: Statue of a soldier and the American flag
Ethos-
Song: Where I Come From- Alan Jackson
Picture: A chess board
Logos-
Song: The News- Jack Johnson
Picture: A World Map
Song: I'm Proud to be an American- Lee Greenwood
Picture: Statue of a soldier and the American flag
Ethos-
Song: Where I Come From- Alan Jackson
Picture: A chess board
Logos-
Song: The News- Jack Johnson
Picture: A World Map
Vogler's calling
Vogler, Christopher. “The Ordinary World- The Call to Adventure.” The Writer's
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
In this excerpt, Vogler begins to discuss the ordinary world. He stresses the importance of the story’s beginning. It makes an impression on the audience and begins before the story with atmosphere and advertisement. The title is the next factor that hits the audience and it gives the nature of the story just as the design could do. The opening image creates a mood and an idea as to where the story will lead. It may suggest the theme or create a metaphor. The next possible step is the prologue although not all stories benefit from this technique. When used correctly the prologue may give necessary back story or tone in order to tell the audience what type of story they are about to experience. The ordinary world begins the hero’s journey establishing a baseline for him or her. It is important that this world contrast the later special world. Foreshadowing the special world may also be used when establishing the ordinary world. There is also the aspect of raising the dramatic question as each story should have one or more questions to answer about the hero, like will she achieve the goal? Heroes have inner and outer problems during their journeys. An outer problem would be something like breaking an enchantment whereas an inner problem could be a personality flaw. Next is making an entrance, as every hero should have a memorable entrance. The surroundings and costuming and emotion should all be significant and help the audience relate to the hero. The audience wants to identify based on the hierarchy of needs with things like the need for acceptance. Sometimes the hero lacks something or has something taken away them whether physically or internally. Many heroes should have a tragic flaw, too, because a perfect hero is hard to relate to and can be boring. Some heroes are wounded from the past and are affected by some emotional scarring. Other important factors are to establish what’s at stake because the hero needs consequences for their decisions and the audience needs to be engaged. Back story must be given to reveal important information and the exposition is the way of revealing the back story. The theme should be stated in the ordinary world as well and connect throughout the rest of the story.
The next section discussed the call to adventure. This phase of the journey really gets the story and the action going after establishing the ordinary world. This call can come in many ways: it can be a message, a string of accidents (synchronicity), a temptation, an internal stirring or the message of a herald. These calls can often be discomforting for the hero but necessary for their growth. Sometimes they need something from this call or have just run out of options, and sometimes there are multiple calls coming from different sources that the hero has to handle.
Response
It is hard not to agree with Vogler in many of his findings because there are so many examples in movies and books. There are so many varieties of the journey, yet it is always present. I agree that the audience tries to identify with the hero or other characters, it something we need to feel in any story. Every element combines and is important, the title and the characteristics of the hero help the audience to understand the story and follow the plot throughout. It is essential to show the ordinary world and contrast it with the special world. The call to adventure is just as significant because without there would be no story, no interest. No matter which way the call is brought into focus it must become the focus of the hero and the story can truly begin when the hero accepts. All of the steps addressed in this reading combine to show every detail of the journey to the audience so that it is easy to follow. Some of the steps can be rearranged or replaced and I am sure that there are other options for some of the techniques listed, however, the ones written here are common and identifiable.
Questions
Are there any examples of ways to call the hero to an adventure that are less known or not mentioned in the reading?
Is there any step listed that would not be needed for a successful journey?
What does Vogler mean when he discusses “Reconnaissance” during the call to adventure chapter? Is it an important feature?
Journey: Mythic Structure for Writers. Third. Studio City, CA: Michael Wiese
Productions, 2007.
Summary
In this excerpt, Vogler begins to discuss the ordinary world. He stresses the importance of the story’s beginning. It makes an impression on the audience and begins before the story with atmosphere and advertisement. The title is the next factor that hits the audience and it gives the nature of the story just as the design could do. The opening image creates a mood and an idea as to where the story will lead. It may suggest the theme or create a metaphor. The next possible step is the prologue although not all stories benefit from this technique. When used correctly the prologue may give necessary back story or tone in order to tell the audience what type of story they are about to experience. The ordinary world begins the hero’s journey establishing a baseline for him or her. It is important that this world contrast the later special world. Foreshadowing the special world may also be used when establishing the ordinary world. There is also the aspect of raising the dramatic question as each story should have one or more questions to answer about the hero, like will she achieve the goal? Heroes have inner and outer problems during their journeys. An outer problem would be something like breaking an enchantment whereas an inner problem could be a personality flaw. Next is making an entrance, as every hero should have a memorable entrance. The surroundings and costuming and emotion should all be significant and help the audience relate to the hero. The audience wants to identify based on the hierarchy of needs with things like the need for acceptance. Sometimes the hero lacks something or has something taken away them whether physically or internally. Many heroes should have a tragic flaw, too, because a perfect hero is hard to relate to and can be boring. Some heroes are wounded from the past and are affected by some emotional scarring. Other important factors are to establish what’s at stake because the hero needs consequences for their decisions and the audience needs to be engaged. Back story must be given to reveal important information and the exposition is the way of revealing the back story. The theme should be stated in the ordinary world as well and connect throughout the rest of the story.
The next section discussed the call to adventure. This phase of the journey really gets the story and the action going after establishing the ordinary world. This call can come in many ways: it can be a message, a string of accidents (synchronicity), a temptation, an internal stirring or the message of a herald. These calls can often be discomforting for the hero but necessary for their growth. Sometimes they need something from this call or have just run out of options, and sometimes there are multiple calls coming from different sources that the hero has to handle.
Response
It is hard not to agree with Vogler in many of his findings because there are so many examples in movies and books. There are so many varieties of the journey, yet it is always present. I agree that the audience tries to identify with the hero or other characters, it something we need to feel in any story. Every element combines and is important, the title and the characteristics of the hero help the audience to understand the story and follow the plot throughout. It is essential to show the ordinary world and contrast it with the special world. The call to adventure is just as significant because without there would be no story, no interest. No matter which way the call is brought into focus it must become the focus of the hero and the story can truly begin when the hero accepts. All of the steps addressed in this reading combine to show every detail of the journey to the audience so that it is easy to follow. Some of the steps can be rearranged or replaced and I am sure that there are other options for some of the techniques listed, however, the ones written here are common and identifiable.
Questions
Are there any examples of ways to call the hero to an adventure that are less known or not mentioned in the reading?
Is there any step listed that would not be needed for a successful journey?
What does Vogler mean when he discusses “Reconnaissance” during the call to adventure chapter? Is it an important feature?
Monday, September 22, 2008
Web of Language
When I visited the web of language site, I scrolled through several news topics before finding one to read through. I decided to read Sorry, Dr. House. Study correlates neat handwriting with academic success.
It was interesting and discussed that neat, large handwriting has shown higher grades and several elementary school teachers believe this new strategy. Then, it continued to talk about the history of perfecting cursive handwriting and then needing type writing skills to the present need for typing skills on computers. This is interesting because there is so much truth to it as there is little emphasis on handwriting anymore.
http://illinois.edu/blog/view?blogId=25&topicId=1147&count=1&ACTION=VIEW_TOPIC_DIALOGS&skinId=286
It was interesting and discussed that neat, large handwriting has shown higher grades and several elementary school teachers believe this new strategy. Then, it continued to talk about the history of perfecting cursive handwriting and then needing type writing skills to the present need for typing skills on computers. This is interesting because there is so much truth to it as there is little emphasis on handwriting anymore.
http://illinois.edu/blog/view?blogId=25&topicId=1147&count=1&ACTION=VIEW_TOPIC_DIALOGS&skinId=286
Sunday, September 21, 2008
Vogler's Archetypes
Vogler, Christopher. “Threshold Guardian- Trickster.” The Writer's Journey: Mythic
Structure for Writers. Third. Studio City, CA: Michael Wiese Productions, 2007.
Summary
These few chapters described the archetypes other than the hero and the mentor. The first to be discussed was the threshold guardian. These characters were often associated with the villain and stood to guard a new level from the hero posing a challenge or test. They can represent either internal fights like demons or just bad luck. They allow the hero to complete a challenge and gain knowledge from the experience that they may need along their journey. The next archetype was the herald who announced challenges or changes for the hero. The herald keeps the story rolling and brings news to the hero; he can be positive or negative. The third archetype to think about is the shape shifter which is a character that is hard to identify because he or she is unstable. This often resembles a romantic or seductive partner of the opposite sex but can sometimes be the role of a friend. Psychologically this can be related to Jung’s theory regarding the anima and animus, the male and female elements of the unconscious that we suppress but also seek out in our mates. This character often brings suspense or confusion to a story, misleading the hero. The next archetype is the shadow which is the darker energy, that of the villain. The can be internal including dark secrets or dislikes. These archetypes are threatening and cause the main conflict for the hero. Sometimes they are humanized with a touch of goodness which makes for an even better enemy. This is easily seen in many Disney films. The Ally is an important archetype, too. It is the hero’s sidekick or partner. The ally can be seen as spiritual, an animal, a ghost, technology, and a servant and can perform many roles like comic relief, challenge, or just an aid. The last archetype here is the trickster which brings the other characters to reality and points out the bonds between them or humor along the way. They are catalyst heroes who don’t seem to change although they are able to affect others in the story.
Response
I think that it is interesting to learn about different archetypes that appear in stories because they are different from stereotypes yet they are so familiar to an audience. We do expect to recognize the roles of these characters as each has its own purpose that impacts the hero. What I like is that these archetypes are so flexible, especially the shape shifter since that is its role. The characters tend to overlap often. The ally can be the mentor or the trickster. Along with overlapping each character has various possibilities like the shadow also being the trickster or the trickster also being the hero. It makes these stories relatable and allows them to be unique from one another. They are easily compared to films in the text and they are easily compared to psychology, especially Carl Jung as well with his explanations of the anima and animus.
Questions
Can a story survive without one of these archetypes?
How can you achieve all of these archetypes with a small cast, what overlaps or combinations can be made?
If a hero makes a solo journey, could all of these archetypes be internal, what would that story be like?
Structure for Writers. Third. Studio City, CA: Michael Wiese Productions, 2007.
Summary
These few chapters described the archetypes other than the hero and the mentor. The first to be discussed was the threshold guardian. These characters were often associated with the villain and stood to guard a new level from the hero posing a challenge or test. They can represent either internal fights like demons or just bad luck. They allow the hero to complete a challenge and gain knowledge from the experience that they may need along their journey. The next archetype was the herald who announced challenges or changes for the hero. The herald keeps the story rolling and brings news to the hero; he can be positive or negative. The third archetype to think about is the shape shifter which is a character that is hard to identify because he or she is unstable. This often resembles a romantic or seductive partner of the opposite sex but can sometimes be the role of a friend. Psychologically this can be related to Jung’s theory regarding the anima and animus, the male and female elements of the unconscious that we suppress but also seek out in our mates. This character often brings suspense or confusion to a story, misleading the hero. The next archetype is the shadow which is the darker energy, that of the villain. The can be internal including dark secrets or dislikes. These archetypes are threatening and cause the main conflict for the hero. Sometimes they are humanized with a touch of goodness which makes for an even better enemy. This is easily seen in many Disney films. The Ally is an important archetype, too. It is the hero’s sidekick or partner. The ally can be seen as spiritual, an animal, a ghost, technology, and a servant and can perform many roles like comic relief, challenge, or just an aid. The last archetype here is the trickster which brings the other characters to reality and points out the bonds between them or humor along the way. They are catalyst heroes who don’t seem to change although they are able to affect others in the story.
Response
I think that it is interesting to learn about different archetypes that appear in stories because they are different from stereotypes yet they are so familiar to an audience. We do expect to recognize the roles of these characters as each has its own purpose that impacts the hero. What I like is that these archetypes are so flexible, especially the shape shifter since that is its role. The characters tend to overlap often. The ally can be the mentor or the trickster. Along with overlapping each character has various possibilities like the shadow also being the trickster or the trickster also being the hero. It makes these stories relatable and allows them to be unique from one another. They are easily compared to films in the text and they are easily compared to psychology, especially Carl Jung as well with his explanations of the anima and animus.
Questions
Can a story survive without one of these archetypes?
How can you achieve all of these archetypes with a small cast, what overlaps or combinations can be made?
If a hero makes a solo journey, could all of these archetypes be internal, what would that story be like?
Wednesday, September 17, 2008
Cool Credit
During my first extra credit assignment I went onto freerice.com and donated 1000 grains of rice. This was cool, I'd never heard of it and I did learn a lot of new words, some that I couldn't figure out the first time around. New words for old words I'd never heard of and new words for something common like donkey. Who knew!
My second extra credit assignment was at smithmag.com where I wrote a 6 word memoir. This forced me to think of something quick and simple to describe myself and I came up with: Swimming fast to travel the world. I like it a lot.
My third extra credit assignment was to listen to a story on npr and I chose to hear about "Legs Propelled Whale Ancestors". It was interesting to listen to a paleontologist who described a whale with two hind legs with feet like structures who swam more like humans than current whales. Its about 40 million years old. I thought this was cool because I'm very interested in marine life and the new idea that we may have evolved more from dolphins/whales who have tailbones, which most don't know.
My second extra credit assignment was at smithmag.com where I wrote a 6 word memoir. This forced me to think of something quick and simple to describe myself and I came up with: Swimming fast to travel the world. I like it a lot.
My third extra credit assignment was to listen to a story on npr and I chose to hear about "Legs Propelled Whale Ancestors". It was interesting to listen to a paleontologist who described a whale with two hind legs with feet like structures who swam more like humans than current whales. Its about 40 million years old. I thought this was cool because I'm very interested in marine life and the new idea that we may have evolved more from dolphins/whales who have tailbones, which most don't know.
Tuesday, September 2, 2008
Hear me roar.
In thinking about which fairy tale character I am most like, I found it more difficult than expected. While Ariel of the Little Mermaid is my favorite, I came to the conclusion that I am more independent than she is. I decided that I was most like the personality of a Disney animal, a lioness, Nala from the Lion King.
I am most like Nala for several reasons. The first is, of course, that she is independent. Not distanced, but able to see what she wants and able to get there on her own. Nala also tries, to some extent, to behave. Following the rules is important in her life, although she does not want to sacrifice fun and enjoys being playful with Simba. Nala is strong enough and willing to help Simba get through his battle to become king and make his father proud. She becomes a great mother and powerful figure. Nala also carries a bit of an attitude, giving her a subtle taste of extra personality. This enhances her inner strength so that she can follow what she believes in despite convincing lies from her peers.
Nala seems to be a stable, well rounded character in a cast of varying personalites. I think I am strong too to handle nearly anything that is thrown at me. I have the attitude and the playfulness which creates excitement while also having the nurturing character to want to find love and a family while helping someone become a better man, or lion as the case may be.
I am most like Nala for several reasons. The first is, of course, that she is independent. Not distanced, but able to see what she wants and able to get there on her own. Nala also tries, to some extent, to behave. Following the rules is important in her life, although she does not want to sacrifice fun and enjoys being playful with Simba. Nala is strong enough and willing to help Simba get through his battle to become king and make his father proud. She becomes a great mother and powerful figure. Nala also carries a bit of an attitude, giving her a subtle taste of extra personality. This enhances her inner strength so that she can follow what she believes in despite convincing lies from her peers.
Nala seems to be a stable, well rounded character in a cast of varying personalites. I think I am strong too to handle nearly anything that is thrown at me. I have the attitude and the playfulness which creates excitement while also having the nurturing character to want to find love and a family while helping someone become a better man, or lion as the case may be.
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