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.
Monday, November 17, 2008
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?
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