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.
Subscribe to:
Posts (Atom)