Brooke Green
11/17/08
CO 122: Analytic and Persuasive Writing
Annotated Bibliography # 11
Prof. Kathleen Robinson
Fall 2008
Vogler, Christopher. “Epilogue: Looking back on the journey. The Writers Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions, 2007. 293-312.
Summary:
In this chapter Vogler briefly goes over the writers journey, and how important the act of writing really is. He talks about how much we can learn about ourselves, and how much knowledge we can gain through the writing process. Stories can help to express feeling we are experiencing on the inside, and help us solve problems. Vogler talks about how life-changing words can be like “I do.” Words are so powerful so we should use them to our full advantage. Vogler then compares writers and shamans. Vogler states that “stories are alive,” and that good stories tell an inner and an outer story, He then tells the story of Rumpelstiltskin. In stories the hero usually begin out by wanting something to change, and wishing for something. This brings wants vs. needs into the scenario. Not only is the hero of the story wishing for something to happen, but the audience is wishing for a certain outcome too. Throughout the story the wishing turns into willing, and this is when the hero is actually able to make things happen, instead of just wanting them to happen on their own.
Reaction:
I like how it talked about wishing of both the hero and the audience, and agree with this. I also like that the transition is made from wishing to willing, and that the hero starts to realize in order to change and make something happen you have to be motivated and take things into your own hands. If you sit around and just wait for things to happen they never will, and your journey will never get started.
Questions:
1. By wishing something to happen and taking action in doing it, does this take away fate?
2. Is the wish of the hero almost always answered?
3. Name a movie where the wish of the hero was completely different from the outcome they were given.
Monday, November 17, 2008
Friday, November 14, 2008
Reflection and Action
Rhetorical analysis- I have completed most of the analysis, but still need to find a book that is fiction and relates to the medical treatment in Africa. I have learned how many different types of media tie into one subject. I have also found more interesting information about my topic through other things, other than research.
Interviews- I plan on interviewing someone that has been to Africa and has first hand seen how African countries work, and has gone through the culture shock of how different it is.I expect to learn a lot from whoever I choose because I will be gaining first hand knowledge from this person.
Volunteer- I plan on volunteering for something that has to do with the health care services available, like at the AIDS partnership, or for a youth program, because both have to do with my topic. I plan on feeling better about myself because I will have directly helped a cause. I also feel like I will gain first hand experience from working with those directly affected.
Interviews- I plan on interviewing someone that has been to Africa and has first hand seen how African countries work, and has gone through the culture shock of how different it is.I expect to learn a lot from whoever I choose because I will be gaining first hand knowledge from this person.
Volunteer- I plan on volunteering for something that has to do with the health care services available, like at the AIDS partnership, or for a youth program, because both have to do with my topic. I plan on feeling better about myself because I will have directly helped a cause. I also feel like I will gain first hand experience from working with those directly affected.
Monday, November 10, 2008
Brooke Green
11/09/08
CO 122: Analytic and Persuasive Writing
Annotated Bibliography # 10
Prof. Kathleen Robinson
Fall 2008
Vogler, Christopher. “Epilogue: Looking back on the journey. The Writers Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions, 2007. 231-290.
Summary:
In this section Vogler chose four movies, which were Titanic, Pulp Fiction, The Lion King, and The Full Monty, which used the hero’s journey in a creative way, and made them very entertaining to watch. Vogler wants the reader to be very aware that the writer’s journey is merely a guideline to be followed loosely. This means that not every story has to posses every aspect of the journey, nor does it have to go in order. There are millions of combinations that the hero’s journey could be shaped into, and this is why we have so many different ways of telling similar stories. He also talks about how “form follows order.” This means that all of the context that you have for your story will shape the structure of the story you are trying to tell. You need to choose a metaphor to represent your story because this can help to understand, and explain the story better. You can even use the hero’s journey as an outline if you are having trouble with some aspect of your story. Vogler then goes through the four movies that he chose and looks at the patterns and combinations through the films. He shows all the different archetypes, and the order of the different stages. Looking at the different films you can see how differently a story can be put together, and not all of them posses all of the pieces of the writers journey.
Reaction:
I like that this section actually went through a couple different films and showed exactly how they broke down, and how they used the writers journey in them. It made understanding the writers journey easier, and showed the fact of how loosely this structure can be used, or how strictly it can be followed.
Questions:
1. Vogler said it would be good to pick your own movie that could help you better understand all the stages. Which movie would you pick, and why would this be a good example?
2. Do you like a story that follows the writer’s journey more strictly, or one that is more loosely based off of the journey?
3. Which film that Vogler picked do you think explained the process the best? Do you think these films were a good choice?
11/09/08
CO 122: Analytic and Persuasive Writing
Annotated Bibliography # 10
Prof. Kathleen Robinson
Fall 2008
Vogler, Christopher. “Epilogue: Looking back on the journey. The Writers Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions, 2007. 231-290.
Summary:
In this section Vogler chose four movies, which were Titanic, Pulp Fiction, The Lion King, and The Full Monty, which used the hero’s journey in a creative way, and made them very entertaining to watch. Vogler wants the reader to be very aware that the writer’s journey is merely a guideline to be followed loosely. This means that not every story has to posses every aspect of the journey, nor does it have to go in order. There are millions of combinations that the hero’s journey could be shaped into, and this is why we have so many different ways of telling similar stories. He also talks about how “form follows order.” This means that all of the context that you have for your story will shape the structure of the story you are trying to tell. You need to choose a metaphor to represent your story because this can help to understand, and explain the story better. You can even use the hero’s journey as an outline if you are having trouble with some aspect of your story. Vogler then goes through the four movies that he chose and looks at the patterns and combinations through the films. He shows all the different archetypes, and the order of the different stages. Looking at the different films you can see how differently a story can be put together, and not all of them posses all of the pieces of the writers journey.
Reaction:
I like that this section actually went through a couple different films and showed exactly how they broke down, and how they used the writers journey in them. It made understanding the writers journey easier, and showed the fact of how loosely this structure can be used, or how strictly it can be followed.
Questions:
1. Vogler said it would be good to pick your own movie that could help you better understand all the stages. Which movie would you pick, and why would this be a good example?
2. Do you like a story that follows the writer’s journey more strictly, or one that is more loosely based off of the journey?
3. Which film that Vogler picked do you think explained the process the best? Do you think these films were a good choice?
Tuesday, November 4, 2008
Brooke Green
11/3/08
CO 122: Analytic and Persuasive Writing
Annotated Bibliography # 9
Prof. Kathleen Robinson
Fall 2008
Vogler, Christopher. “Book Two: Stage eleven- The Resurrection and Stage twelve- Return with the elixir. The Writers Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions, 2007. 197-228.
Summary:
In this chapter Vogler describes one of the trickiest and most challenging parts of the entire hero’s journey. This is the final time that the hero will be faced with death and danger, but it is the most dangerous fight that he will have faced yet. This is also the greatest climax of the story. The hero must change significantly in order to show the resurrection to the audience. The hero must get a new personality and this part cleanses the hero of the deaths that have occurred throughout the story. Most stories even have two great ordeals, one in the middle of the story and one right before the very end. This is the last fight between the hero, and the last time the villain has a chance to fight. Sometimes the hero even has to be rescued by an ally in this final fight. In most stories the hero almost dies, but the villain is the one who ends up facing his death. The main this is that change must occur in order for the story to have any meaning, or the hero gaining anything. In stage twelve, after all the ordeals and struggles have finally passed the return with the elixir stage comes. The hero must come back with an elixir that he can share with everyone else. Without this elixir the story would not have much point to it, and the journey would not have been a success. This elixir can change the entire world, and help save everyone. Or it could just benefit the hero in a smaller community. Sometimes the storyteller has an open ending, or even an abrupt one where you do not really know what happens after this ordeal, and must decide for yourself.
Reaction:
I do not really like how it talked about the hero having to be saved by an ally in this final fight. I believe the hero has been training and working towards this part of the journey for the entire story. Then to just make it so he has to be saved by someone else ruins the point and the preparation it took to get there.
Questions:
1. Would it ruin the story if in the end the hero could not accomplish the goal and needed a lesser character to save him?
2. Is it okay for the hero to keep being assumed dead, only just to come back every time?
3. What happens if the hero doesn’t change at all?
11/3/08
CO 122: Analytic and Persuasive Writing
Annotated Bibliography # 9
Prof. Kathleen Robinson
Fall 2008
Vogler, Christopher. “Book Two: Stage eleven- The Resurrection and Stage twelve- Return with the elixir. The Writers Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions, 2007. 197-228.
Summary:
In this chapter Vogler describes one of the trickiest and most challenging parts of the entire hero’s journey. This is the final time that the hero will be faced with death and danger, but it is the most dangerous fight that he will have faced yet. This is also the greatest climax of the story. The hero must change significantly in order to show the resurrection to the audience. The hero must get a new personality and this part cleanses the hero of the deaths that have occurred throughout the story. Most stories even have two great ordeals, one in the middle of the story and one right before the very end. This is the last fight between the hero, and the last time the villain has a chance to fight. Sometimes the hero even has to be rescued by an ally in this final fight. In most stories the hero almost dies, but the villain is the one who ends up facing his death. The main this is that change must occur in order for the story to have any meaning, or the hero gaining anything. In stage twelve, after all the ordeals and struggles have finally passed the return with the elixir stage comes. The hero must come back with an elixir that he can share with everyone else. Without this elixir the story would not have much point to it, and the journey would not have been a success. This elixir can change the entire world, and help save everyone. Or it could just benefit the hero in a smaller community. Sometimes the storyteller has an open ending, or even an abrupt one where you do not really know what happens after this ordeal, and must decide for yourself.
Reaction:
I do not really like how it talked about the hero having to be saved by an ally in this final fight. I believe the hero has been training and working towards this part of the journey for the entire story. Then to just make it so he has to be saved by someone else ruins the point and the preparation it took to get there.
Questions:
1. Would it ruin the story if in the end the hero could not accomplish the goal and needed a lesser character to save him?
2. Is it okay for the hero to keep being assumed dead, only just to come back every time?
3. What happens if the hero doesn’t change at all?
Thursday, October 30, 2008
Tuesday, October 21, 2008
Strengths and Weaknesses
Strengths:
- The point is the same throughout.
- Good comparison of the deaths
- Good subject / interesting subject.
- Lot's of information.
- Good outline, like where it is headed.
- Say why they do not have the drugs. Ex: economics.
- Focus on one or two countries.
- More support.
- To broad.
Sunday, October 19, 2008
Brooke Green
10/20/08
CO 122: Analytic and Persuasive Writing
Annotated Bibliography # 7
Prof. Kathleen Robinson
Fall 2008
Vogler, Christopher. “Book Two: Stage Seven: Approach to the Inmost cave Stage Eight: The Ordeal. The Writers Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions, 2007. 143-173.
Summary:
In this chapter of the book Vogler shows us the inmost cave of the hero’s journey. This is where they face a lot of obstacles that they must pass before they get to the ordeal. As Vogler says this is the hero making the “final assault on the highest peak” (143). Usually there is a stalling or a pause before they make the final approach, even a romance can develop in the scenes right before the ordeal. On the other hand heroes may be the bold and aggressive type who go after a challenge whenever they can, and may charge right up ready for action. This approach is the last few moments that the hero has to gather everything together, and take everything he has learned thus far in preparation for the ordeal. During this time however heroes must be alert, and not fall for any of the illusions that enemies might have set up to throw them off course. It is important to focus on the goal, and not stray from is at all. Threshold guardians can also appear throughout this stage because this stage is all about testing the hero before his last ordeal. He must use the past experiences he has gained throughout the journey in order to get around all of these obstacles and threshold guardians. If that does not work, sometimes the hero must turn to emotions in order to connect with the guardian on a human level. This is another new special world, inside of the first new world, so the setting is flipped again. The hero then crosses another threshold in this stage. There can be impossible tests set for the heroes that make things too difficult to complete, or there may be setbacks in the hero’s journey because of difficult tasks at hand. The stakes are definitely higher in this stage, and more is at risk. Ultimately the hero has to face a life or death situation, and there is no escaping or running from it.
In the eight stage the ordeal, this is the final fight, and the final task before the hero will reach his goal… or not. The hero, in one sense or another, dies in this stage. He must die because he must be reborn into a new person that has learned from the journey. If he does not learn from the journey, then the journey was pointless, and must be done again. The journey is only completed and successful if the hero returns with that elixir. Vogler also talks about the placement of the ordeal, and how this is important to highlight main points in the story. Death is a big theme in this stage. The hero can appear to die, witness a death, cause a death, or really truly die. The hero and villain must come face to face in this stage and the hero must defeat the villain, or in some cases he can merely escape. This is when the greatest fear is realized, and presented to the hero. This causes a lot of breakdowns mentally and physically.
Reaction:
I like how Vogler talked about the villains, because we did not get to hear a lot about them through the stages, it was mostly about the hero. I like the fact that Vogler said that the villain is the hero of his own story, and that is very true. It is funny to look at it from both angles and see that on either side things are looked at as completely different.
Questions:
1. Have you ever watched a movie and found yourself siding with the villain more than the hero? What movie?
2. What do you think is more exciting the inmost cave building up to the final fight, or the ordeal when everything come to an end? Why?
3. Why do you think that the setting is changed again, and we are introduced to another new world?
10/20/08
CO 122: Analytic and Persuasive Writing
Annotated Bibliography # 7
Prof. Kathleen Robinson
Fall 2008
Vogler, Christopher. “Book Two: Stage Seven: Approach to the Inmost cave Stage Eight: The Ordeal. The Writers Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions, 2007. 143-173.
Summary:
In this chapter of the book Vogler shows us the inmost cave of the hero’s journey. This is where they face a lot of obstacles that they must pass before they get to the ordeal. As Vogler says this is the hero making the “final assault on the highest peak” (143). Usually there is a stalling or a pause before they make the final approach, even a romance can develop in the scenes right before the ordeal. On the other hand heroes may be the bold and aggressive type who go after a challenge whenever they can, and may charge right up ready for action. This approach is the last few moments that the hero has to gather everything together, and take everything he has learned thus far in preparation for the ordeal. During this time however heroes must be alert, and not fall for any of the illusions that enemies might have set up to throw them off course. It is important to focus on the goal, and not stray from is at all. Threshold guardians can also appear throughout this stage because this stage is all about testing the hero before his last ordeal. He must use the past experiences he has gained throughout the journey in order to get around all of these obstacles and threshold guardians. If that does not work, sometimes the hero must turn to emotions in order to connect with the guardian on a human level. This is another new special world, inside of the first new world, so the setting is flipped again. The hero then crosses another threshold in this stage. There can be impossible tests set for the heroes that make things too difficult to complete, or there may be setbacks in the hero’s journey because of difficult tasks at hand. The stakes are definitely higher in this stage, and more is at risk. Ultimately the hero has to face a life or death situation, and there is no escaping or running from it.
In the eight stage the ordeal, this is the final fight, and the final task before the hero will reach his goal… or not. The hero, in one sense or another, dies in this stage. He must die because he must be reborn into a new person that has learned from the journey. If he does not learn from the journey, then the journey was pointless, and must be done again. The journey is only completed and successful if the hero returns with that elixir. Vogler also talks about the placement of the ordeal, and how this is important to highlight main points in the story. Death is a big theme in this stage. The hero can appear to die, witness a death, cause a death, or really truly die. The hero and villain must come face to face in this stage and the hero must defeat the villain, or in some cases he can merely escape. This is when the greatest fear is realized, and presented to the hero. This causes a lot of breakdowns mentally and physically.
Reaction:
I like how Vogler talked about the villains, because we did not get to hear a lot about them through the stages, it was mostly about the hero. I like the fact that Vogler said that the villain is the hero of his own story, and that is very true. It is funny to look at it from both angles and see that on either side things are looked at as completely different.
Questions:
1. Have you ever watched a movie and found yourself siding with the villain more than the hero? What movie?
2. What do you think is more exciting the inmost cave building up to the final fight, or the ordeal when everything come to an end? Why?
3. Why do you think that the setting is changed again, and we are introduced to another new world?
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