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.
Monday, September 29, 2008
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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