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?
Sunday, October 12, 2008
Brooke Green
10/13/08
CO 122: Analytic and Persuasive Writing
Annotated Bibliography # 6
Prof. Kathleen Robinson
Fall 2008
Vogler, Christopher. “Book Two: Stage Five: Crossing the First Threshold and Stage Six: Tests, Allies, Enemies. The Writers Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions, 2007. 127-141.
Summary:
Stage Five: Crossing the First Threshold-
Vogler discusses the act of the hero crossing the first threshold in this chapter, and the importance of this action. The hero is standing in between two worlds right before the threshold, that he must cross in order to continue his journey to the adventure. Once the hero crosses this threshold he is committed to the journey and must continue down the path, wherever it may lead. Since heroes are not always willing to set off on these dangerous journeys a “plot or turning point” is usually made in order to push the hero to accept the journey. These events can be external or internal. The external events usually include some sort of villain harming someone close to the hero, pushing him over the edge. Threshold Guardians usually appear around these gateways to test the hero and try and stop him from continuing on the journey. The Threshold Guardians are supposed to teach the hero an important skill or give a piece of knowledge before they begin the journey, and if nothing else the hero must “absorb them.” However, usually the way around them is really easy and they just need to be ignored or moved around. Threshold Guardians can even shape shift from enemies to allies. Reaching the “boarder of the two worlds,” requires the hero to put everything else aside and take a “leap of faith,” into the unknown. Because once that leap is made it cannot be reversed. This crossing the first threshold is a “turning point at which the adventure begins,” and the end of the first part of the story and the ordinary world.
Stage Six: Tests, Allies, Enemies-
The next chapter of Vogler is Tests, Allies, and Enemies, and is an important part in any story. Tests are given to the hero in order to prepare him for what lies ahead, and to give him the knowledge he needs in order to make it to the end of the journey and get his goal. These test are supposed to build the hero up to the last challenge, and are therefore not going to be a difficult as the last ordeal. Allies are important archetypes that help the hero through the journey and can even be a sort of sidekick to the hero. Allies can be a lot of archetype all in one because since they are guiding the hero through the journey, they serve as a sort of mentor too. They can also be tricksters and provide comedy to the story if it is needed. Enemies in stories serve as the “shadow, the trickster, the threshold guardian, and sometimes the herald.” One type of an enemy is the rival. He does not want the hero dead, but he does want to defeat the hero in competitions. In this new world the hero has entered, there are also new rules that must be learned, and learned quickly. Watering holes are when the hero purposefully goes out looking for adventure and might also be looking for information on how to continue the journey, or how to defeat a certain obstacle.
Reaction:
I did not know that crossing the first threshold was so important to the story until I read this chapter, but I understand why it has to be. There needs to be an obvious difference between the two worlds, and a struggle to accept the second one. I liked the idea of the enemy being a rival because I know a lot of movies like this, and I feel that in the end both the hero and the rival have grown so much and learned from each other that they can be more of allies than enemies.
Questions:
1. Can you think of any threshold guardians that become allies to the hero?
2. Can you think of a movie where the enemy is a rival, but he grows to be an ally or a distant friend of the hero’s?
3. Are there any heroes with no allies whatsoever?
10/13/08
CO 122: Analytic and Persuasive Writing
Annotated Bibliography # 6
Prof. Kathleen Robinson
Fall 2008
Vogler, Christopher. “Book Two: Stage Five: Crossing the First Threshold and Stage Six: Tests, Allies, Enemies. The Writers Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions, 2007. 127-141.
Summary:
Stage Five: Crossing the First Threshold-
Vogler discusses the act of the hero crossing the first threshold in this chapter, and the importance of this action. The hero is standing in between two worlds right before the threshold, that he must cross in order to continue his journey to the adventure. Once the hero crosses this threshold he is committed to the journey and must continue down the path, wherever it may lead. Since heroes are not always willing to set off on these dangerous journeys a “plot or turning point” is usually made in order to push the hero to accept the journey. These events can be external or internal. The external events usually include some sort of villain harming someone close to the hero, pushing him over the edge. Threshold Guardians usually appear around these gateways to test the hero and try and stop him from continuing on the journey. The Threshold Guardians are supposed to teach the hero an important skill or give a piece of knowledge before they begin the journey, and if nothing else the hero must “absorb them.” However, usually the way around them is really easy and they just need to be ignored or moved around. Threshold Guardians can even shape shift from enemies to allies. Reaching the “boarder of the two worlds,” requires the hero to put everything else aside and take a “leap of faith,” into the unknown. Because once that leap is made it cannot be reversed. This crossing the first threshold is a “turning point at which the adventure begins,” and the end of the first part of the story and the ordinary world.
Stage Six: Tests, Allies, Enemies-
The next chapter of Vogler is Tests, Allies, and Enemies, and is an important part in any story. Tests are given to the hero in order to prepare him for what lies ahead, and to give him the knowledge he needs in order to make it to the end of the journey and get his goal. These test are supposed to build the hero up to the last challenge, and are therefore not going to be a difficult as the last ordeal. Allies are important archetypes that help the hero through the journey and can even be a sort of sidekick to the hero. Allies can be a lot of archetype all in one because since they are guiding the hero through the journey, they serve as a sort of mentor too. They can also be tricksters and provide comedy to the story if it is needed. Enemies in stories serve as the “shadow, the trickster, the threshold guardian, and sometimes the herald.” One type of an enemy is the rival. He does not want the hero dead, but he does want to defeat the hero in competitions. In this new world the hero has entered, there are also new rules that must be learned, and learned quickly. Watering holes are when the hero purposefully goes out looking for adventure and might also be looking for information on how to continue the journey, or how to defeat a certain obstacle.
Reaction:
I did not know that crossing the first threshold was so important to the story until I read this chapter, but I understand why it has to be. There needs to be an obvious difference between the two worlds, and a struggle to accept the second one. I liked the idea of the enemy being a rival because I know a lot of movies like this, and I feel that in the end both the hero and the rival have grown so much and learned from each other that they can be more of allies than enemies.
Questions:
1. Can you think of any threshold guardians that become allies to the hero?
2. Can you think of a movie where the enemy is a rival, but he grows to be an ally or a distant friend of the hero’s?
3. Are there any heroes with no allies whatsoever?
Monday, October 6, 2008
Brooke Green
10/06/08
CO 122: Analytic and Persuasive Writing
Annotated Bibliography # 5
Prof. Kathleen Robinson
Fall 2008
Vogler, Christopher. “Book Two: Stage Three: Refusal of the Call and Stage Four: Meeting with the Mentor. The Writers Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions, 2007. 107-125.
Summary:
Stage Three: Refusal of the Call-
In this reading Vogler starts to talk about stage three, and this is when the hero has already been presented with the Call to Adventure, but he does not know how to exactly proceed. All that is known is that the journey will be dangerous, long, and life changing. Sometimes it takes the hero a little time to come to terms with everything he is agreeing to if he chooses to accept this adventure. The first part of this is avoidance. Every hero no matter how strong gets a little hesitant, and might try to avoid the problems faced, rather than take them head on. If not avoidance then the hero can try to make excuses to why they are not able to go on this particular journey at this time. If a call if refused for too long then sometimes tragedy strikes, but this can be the extra push that the hero needed to get going on the journey, and get motivation. A refusal of a call is not always a bad thing. Some heroes are resisting bad temptations they should not seek after, and in this case refusing the call is the best choice. Not all heroes go through this process of refusing the call. Some are ready to fight and go on this journey, and happily accept this call to adventure, or even to the extreme seek it out. The threshold guardians pop up again though, and test the heroes and block them before they are ready to keep going on their journey. If the threshold guardian or mentors are too restricting on the hero there are always secret doors for the heroes to find.
Stage Four: Meeting with the Mentor-
Vogler introduces us to the figures that coax and guide the heroes through their journey, and these archetypes are called the mentors. They are there to help prepare the hero for whatever is to come on this journey, and give them all necessary tools, skills, and knowledge. They are looked at as “sources of wisdom,” and the mentor passes this wisdom onto the hero, whatever that may be. Other times mentors are looked at as “folklore and myth,” and also as “Chiron: a prototype.” Not all mentors accomplish this greater good that they are supposed to though. Sometimes they accidentally, or purposely, misdirect the hero into danger, and can turn out to be a completely different person. The mentor hero relationship can change at any point, and can be positive or negative. The mentor could go against the hero at any point.
Reaction:
I thought this section was very interesting because I like the fact that there is a good refusal of the call to adventure, and it is not always the hero being a coward. I also do like that there is a refusal though because it is nice to see the heroes actually debating what their choices are. The mentor archetype was also interesting, but kind of upsetting because of how easily they can turn on the hero.
Questions:
1. Is it easier for the audience to connect with a hero that is willing to set off down the path right away, or one who is hesitant?
2. What constitutes a hero turning away and making a positive refusal of the call, and what makes it him just being a coward?
3. Can you name a movie where the hero turned on the mentor, instead of the mentor turning on the hero?
10/06/08
CO 122: Analytic and Persuasive Writing
Annotated Bibliography # 5
Prof. Kathleen Robinson
Fall 2008
Vogler, Christopher. “Book Two: Stage Three: Refusal of the Call and Stage Four: Meeting with the Mentor. The Writers Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions, 2007. 107-125.
Summary:
Stage Three: Refusal of the Call-
In this reading Vogler starts to talk about stage three, and this is when the hero has already been presented with the Call to Adventure, but he does not know how to exactly proceed. All that is known is that the journey will be dangerous, long, and life changing. Sometimes it takes the hero a little time to come to terms with everything he is agreeing to if he chooses to accept this adventure. The first part of this is avoidance. Every hero no matter how strong gets a little hesitant, and might try to avoid the problems faced, rather than take them head on. If not avoidance then the hero can try to make excuses to why they are not able to go on this particular journey at this time. If a call if refused for too long then sometimes tragedy strikes, but this can be the extra push that the hero needed to get going on the journey, and get motivation. A refusal of a call is not always a bad thing. Some heroes are resisting bad temptations they should not seek after, and in this case refusing the call is the best choice. Not all heroes go through this process of refusing the call. Some are ready to fight and go on this journey, and happily accept this call to adventure, or even to the extreme seek it out. The threshold guardians pop up again though, and test the heroes and block them before they are ready to keep going on their journey. If the threshold guardian or mentors are too restricting on the hero there are always secret doors for the heroes to find.
Stage Four: Meeting with the Mentor-
Vogler introduces us to the figures that coax and guide the heroes through their journey, and these archetypes are called the mentors. They are there to help prepare the hero for whatever is to come on this journey, and give them all necessary tools, skills, and knowledge. They are looked at as “sources of wisdom,” and the mentor passes this wisdom onto the hero, whatever that may be. Other times mentors are looked at as “folklore and myth,” and also as “Chiron: a prototype.” Not all mentors accomplish this greater good that they are supposed to though. Sometimes they accidentally, or purposely, misdirect the hero into danger, and can turn out to be a completely different person. The mentor hero relationship can change at any point, and can be positive or negative. The mentor could go against the hero at any point.
Reaction:
I thought this section was very interesting because I like the fact that there is a good refusal of the call to adventure, and it is not always the hero being a coward. I also do like that there is a refusal though because it is nice to see the heroes actually debating what their choices are. The mentor archetype was also interesting, but kind of upsetting because of how easily they can turn on the hero.
Questions:
1. Is it easier for the audience to connect with a hero that is willing to set off down the path right away, or one who is hesitant?
2. What constitutes a hero turning away and making a positive refusal of the call, and what makes it him just being a coward?
3. Can you name a movie where the hero turned on the mentor, instead of the mentor turning on the hero?
Thursday, October 2, 2008
Ethos, Pathos, and Logos: The Rhetorical Appeals
Logos:
Picture-
Song- Bob Marley- Buffalo Soldier
Pathos:
Picture-
Song-Brand New- Seventy Times 7
Ethos:
Picture-
Song- Dave Matthews Band- Lie in Our Graves
Revision Plan
3 Revisions:
1. I am revising my conclusion because I feel that it is not as strong as it should be, and it kind of ends without leading the audience to a "so what."
2. I also need to expand the "so what" of family in my paper, and their affect on the story.
3. I need to explain my middle paragraph a little more in depth because the emotions I was feeling are not expressed to the extent that they should be.
3 Edits:
1. I used a lot of commas in places they should not be. I need to go through and figure out where commas are needed, and take out the ones not needed.
2. There are some broad words that I used that need to be more in depth. Like when I said, "There are things in life that can hurt us." I need to be more specific on what "things" and other non specific words mean.
3. My word choice in some of the sentences does not make sense, so I need to re word some sentences completely, and make the ideas more clear.
1. I am revising my conclusion because I feel that it is not as strong as it should be, and it kind of ends without leading the audience to a "so what."
2. I also need to expand the "so what" of family in my paper, and their affect on the story.
3. I need to explain my middle paragraph a little more in depth because the emotions I was feeling are not expressed to the extent that they should be.
3 Edits:
1. I used a lot of commas in places they should not be. I need to go through and figure out where commas are needed, and take out the ones not needed.
2. There are some broad words that I used that need to be more in depth. Like when I said, "There are things in life that can hurt us." I need to be more specific on what "things" and other non specific words mean.
3. My word choice in some of the sentences does not make sense, so I need to re word some sentences completely, and make the ideas more clear.
Monday, September 29, 2008
Brooke Green
9/29/08
CO 122: Analytic and Persuasive Writing
Annotated Bibliography # 4
Prof. Kathleen Robinson
Fall 2008
Vogler, Christopher. “Book Two: Stage One: The Ordinary World and Stage Two: The Call to Adventure. The Writers Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions, 2007. 84-102.
Summary:
Stage One: The Ordinary World and Stage Two: The Call to Adventure:
The ordinary world is the beginning stage of the hero’s journey. This stage sets up the visual of the hero’s world before the challenges are presented to him. These opening scenes set the tone for the story and are very important. The beginning must set up an idea of where the story will head. The prologue of the story can give a back-story or give the audience hint of where the story is headed. The ordinary world must be shown in order to show contrast to the strange world the hero will be thrown into. In the ordinary world the “dramatic question” is presented and starts the plot. The hero is first presented in this ordinary world so these scenes are important for the audience to get an idea of who the hero is. This is the time where the audience makes a connection with the hero and we see what the hero is lacking; the whole theme is introduced in the beginning stage. The call to adventure, also known as “inciting or initiating incident, the catalyst, or the trigger, is the second stage after the ordinary world. An event or incident takes place and the hero is presented with a challenge. This is when the audience figures out the hero’s goals and what must be accomplished during the journey. The hero does not know exactly what lies ahead, but he knows that things will change forever and that the journey will be hard and difficult if he chooses to take it.
Reaction:
I believe thee ordinary world and the call to adventure to be the most important stages of the stories because they completely set up the story, explain what is going on, and present what the entire story is going to entail. These steps set the tone for the rest of the story.
Questions:
1. What do you think would happen to the story is the ordinary world was never presented?
2. Do you think it is necessary for the audience to connect with the hero in the first scenes of the ordinary world? Why? Why not?
3. Can a person decide whether they will like the rest of the story based off of these first two steps?
9/29/08
CO 122: Analytic and Persuasive Writing
Annotated Bibliography # 4
Prof. Kathleen Robinson
Fall 2008
Vogler, Christopher. “Book Two: Stage One: The Ordinary World and Stage Two: The Call to Adventure. The Writers Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions, 2007. 84-102.
Summary:
Stage One: The Ordinary World and Stage Two: The Call to Adventure:
The ordinary world is the beginning stage of the hero’s journey. This stage sets up the visual of the hero’s world before the challenges are presented to him. These opening scenes set the tone for the story and are very important. The beginning must set up an idea of where the story will head. The prologue of the story can give a back-story or give the audience hint of where the story is headed. The ordinary world must be shown in order to show contrast to the strange world the hero will be thrown into. In the ordinary world the “dramatic question” is presented and starts the plot. The hero is first presented in this ordinary world so these scenes are important for the audience to get an idea of who the hero is. This is the time where the audience makes a connection with the hero and we see what the hero is lacking; the whole theme is introduced in the beginning stage. The call to adventure, also known as “inciting or initiating incident, the catalyst, or the trigger, is the second stage after the ordinary world. An event or incident takes place and the hero is presented with a challenge. This is when the audience figures out the hero’s goals and what must be accomplished during the journey. The hero does not know exactly what lies ahead, but he knows that things will change forever and that the journey will be hard and difficult if he chooses to take it.
Reaction:
I believe thee ordinary world and the call to adventure to be the most important stages of the stories because they completely set up the story, explain what is going on, and present what the entire story is going to entail. These steps set the tone for the rest of the story.
Questions:
1. What do you think would happen to the story is the ordinary world was never presented?
2. Do you think it is necessary for the audience to connect with the hero in the first scenes of the ordinary world? Why? Why not?
3. Can a person decide whether they will like the rest of the story based off of these first two steps?
Sunday, September 21, 2008
Brooke Green
9/22/08
CO 122: Analytic and Persuasive Writing
Annotated Bibliography # 3
Prof. Kathleen Robinson
Fall 2008
Vogler, Christopher. “Book One: Threshold Guardian, Herald, Shapeshifter, Shadow, Ally, and Trickster. The Writers Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions, 2007. 49-80.
Summary:
Threshold Guardian:
The threshold guardians pretty much do what their titles suggest; they usually are at the beginning of each new obstacle that the Hero will face. They are not the main villains and can even be presented as allies, but there is some kind of link between the threshold guardians and the villain. These threshold guardians can be a symbol for our inner demons that we face, and are placed at these thresholds to test the Heroes abilities and test the hero before he continues on his journey. The ultimate reason for them is to present resistance to the hero, so that the hero may learn from them and grow.
Herald:
Heralds are placed in stories to forewarn the hero and the reader of coming obstacles and big change. They are looked at as messengers and motivation to make the hero change in a big way. Threshold guardians are the calling to an adventure that needs to be faced, and may be an actual person or simply a force, but they can change the entire mood and setting of the story. They can be good, bad, or simply neutral, and even sometimes the villain himself.
Shapshifter:
The shapeshifter is a character that is constantly changing as soon as you think you have them figured out, they surprise you, and they are the most flexible of all the archetypes. This makes them hard for the reader to identify most of the time, and lead the reader and hero in one direction and then flip to another direction. The reader often does not know what to think about the shapeshifter character and questions their allegiance to the hero. Most of the time the shapeshifter is of the opposite sex and plays the romantic role, but can also be the same sex and play the role of a friend. They also represent the male and female elements of our unconscious minds, and as Carl Jung calls it, the animus and anima. But overall they are the presence of doubt and add an element of suspense into the story.
Shadow:
This archetype gives off the evil energy, and takes shape in villains, antagonists, and enemies. They are based on the characteristics we dislike about ourselves, or even the secrets we are keeping from everyone. They threaten to destroy the hero and face them with their biggest conflict of the story, but also are placed in order to bring the best out in the hero and help them realize their potential for greatness. There are both internal and external shadows and both must be destroyed or disabled so that they hero can learn from whatever was being suppressed and keep on journeying down the path.
Ally:
The ally is both a necessary and important character for the hero to have. They act as comic relief to the story, a partner to help defeat obstacles, or just someone to lean on when things are getting tough. The allies do not even have to be human, in a lot of cases allies can be animals, or even ghost, and internal allies like dreams.
Trickster:
The trickster archetype can be used to add comedy to the story and to cut other characters down and reduce their standings. Most of the time they are harmless but annoying, but they can be very harmful to the hero in certain stories.
Reaction:
I like that we are exploring in more depth other archetypes other than the hero, but characters that directly affect the hero. These characters are very versatile and can take the shape of pretty much anything, or even embody one sole character. I found them very interesting, especially the shadow and the shapeshifter. I like the shadow because it is thought of as such a dark thing but in the end it bring out the best in the hero and helps him achieve his greatest goal. I like the shapeshifter because it can be so many different things, and therefore it is a lot harder to pin down and find in the story. But most of all both of these add the exciting elements that make up a story and without them I feel the story would not be complete, nor would the hero be able to go on his journey without them.
Questions:
1. Which out of these archetypes do you think is the most important to have in a story? Least important?
2. If all of these archetypes did embody one character what would happen to the story? Is this even possible?
3. Are the shadow and the villain essentially the same thing? What are the difference?
9/22/08
CO 122: Analytic and Persuasive Writing
Annotated Bibliography # 3
Prof. Kathleen Robinson
Fall 2008
Vogler, Christopher. “Book One: Threshold Guardian, Herald, Shapeshifter, Shadow, Ally, and Trickster. The Writers Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions, 2007. 49-80.
Summary:
Threshold Guardian:
The threshold guardians pretty much do what their titles suggest; they usually are at the beginning of each new obstacle that the Hero will face. They are not the main villains and can even be presented as allies, but there is some kind of link between the threshold guardians and the villain. These threshold guardians can be a symbol for our inner demons that we face, and are placed at these thresholds to test the Heroes abilities and test the hero before he continues on his journey. The ultimate reason for them is to present resistance to the hero, so that the hero may learn from them and grow.
Herald:
Heralds are placed in stories to forewarn the hero and the reader of coming obstacles and big change. They are looked at as messengers and motivation to make the hero change in a big way. Threshold guardians are the calling to an adventure that needs to be faced, and may be an actual person or simply a force, but they can change the entire mood and setting of the story. They can be good, bad, or simply neutral, and even sometimes the villain himself.
Shapshifter:
The shapeshifter is a character that is constantly changing as soon as you think you have them figured out, they surprise you, and they are the most flexible of all the archetypes. This makes them hard for the reader to identify most of the time, and lead the reader and hero in one direction and then flip to another direction. The reader often does not know what to think about the shapeshifter character and questions their allegiance to the hero. Most of the time the shapeshifter is of the opposite sex and plays the romantic role, but can also be the same sex and play the role of a friend. They also represent the male and female elements of our unconscious minds, and as Carl Jung calls it, the animus and anima. But overall they are the presence of doubt and add an element of suspense into the story.
Shadow:
This archetype gives off the evil energy, and takes shape in villains, antagonists, and enemies. They are based on the characteristics we dislike about ourselves, or even the secrets we are keeping from everyone. They threaten to destroy the hero and face them with their biggest conflict of the story, but also are placed in order to bring the best out in the hero and help them realize their potential for greatness. There are both internal and external shadows and both must be destroyed or disabled so that they hero can learn from whatever was being suppressed and keep on journeying down the path.
Ally:
The ally is both a necessary and important character for the hero to have. They act as comic relief to the story, a partner to help defeat obstacles, or just someone to lean on when things are getting tough. The allies do not even have to be human, in a lot of cases allies can be animals, or even ghost, and internal allies like dreams.
Trickster:
The trickster archetype can be used to add comedy to the story and to cut other characters down and reduce their standings. Most of the time they are harmless but annoying, but they can be very harmful to the hero in certain stories.
Reaction:
I like that we are exploring in more depth other archetypes other than the hero, but characters that directly affect the hero. These characters are very versatile and can take the shape of pretty much anything, or even embody one sole character. I found them very interesting, especially the shadow and the shapeshifter. I like the shadow because it is thought of as such a dark thing but in the end it bring out the best in the hero and helps him achieve his greatest goal. I like the shapeshifter because it can be so many different things, and therefore it is a lot harder to pin down and find in the story. But most of all both of these add the exciting elements that make up a story and without them I feel the story would not be complete, nor would the hero be able to go on his journey without them.
Questions:
1. Which out of these archetypes do you think is the most important to have in a story? Least important?
2. If all of these archetypes did embody one character what would happen to the story? Is this even possible?
3. Are the shadow and the villain essentially the same thing? What are the difference?
Tuesday, September 2, 2008
What Disney character I would be...
I absolutely love all the Disney movies and shows, and have ever since I was little. If I had to choose one character that I would be, then I would choose Stitch, from Lilo and Stitch. If you have ever seen the show Stitch is a crazy, little, cute, alien, who poses as a dog on earth. He was created by an evil scientist to destroy things, but deep down he is really not bad, he is just misunderstood. Stitch does get a little crazy, breaking things and making messes, and he can be extremely loud. He also eats A LOT! In the end Stitch is really still a child and that personality is overshadowed by his tough exterior.
I picked Stitch to represent me because I have a lot in common with him. I also eat a lot; I get made fun of for it by my friends whenever we go to eat. I am a huge klutz, so I am always breaking things and falling down, which contributes to the making messes everywhere I go. Deep down I have an inner child in me, I still love cartoons and I am easily amused and pleased, the simplest things make me happy. I can definitely be really loud, even when I don't mean to, but overall I always mean well.
I am a very family and friend oriented person, like Stitch comes to be after more time spent on earth. Stitch at first tries to escape earth, but then comes to find out that he is at home with Lilo. Stitch has two memorable quotes that I completely relate to; the first is when he is repeating what Lilo said in the beginning, "Ohana means family, and family means never being left behind or forgotten." The other quote is after he has realized that he is home here on earth and that even though he was created to destroy, there really is more to him, and he says, "This is my family. I found it, all on my own. It's little, and broken, but still good. Yeah, still good."
Stitch felt like he could never belong, but he adapted and found people he could relate to. I think that we all at some point go through this struggle, especially coming to a new college. But the friends we make are like our families and they help us through everything else.
Subscribe to:
Posts (Atom)