Project Three Volunteer Log
Eckerd College
Name of Organization:
Hands on Atlanta at AHHH
Location of Organization:
Atlanta, Georgia
Volunteer Opportunity:
To help make dinner for the guests
Review of Volunteering:
This place was really cool. It was in an old Victorian house that probably was built in 1920s. It was like a bed and breakfast but cheap. People who came in town for family in the hospital can stay here for only a donated 10 dollars a night. However, if they don’t have the 10 dollars no one is turned away.
What did you do?
I helped make dinner and cleaned up after
When did you do it?
Saturday 5-8 pm November 29
What did you learn?
I learned helping people with no real benefit back is a good thing
What are your future plans?
I might go back and help make dinner.
Tuesday, December 2, 2008
Friday, November 21, 2008
Reflect/Action
For the project three, I have my past papers that all relate from my memoir in Italy (which includes gypsies) and my research paper on gypsies in Europe. I have an interview with Professor Kodish from Montenegro in Europe which has many gypsies. I have looked into many volunteer projects. I hope to do volunteering with making food for the hungry. Many of the opportunities that I have seen by looking for them all wanted orientations that lasted several hours or they wanted the volunteers to stick around for a couple of months. This is not an option so it has been kind of hard to find something to volunteer in what I hope to do.
I plan at this point to hopefully be volunteering with Hosea Feed the Hungry for Thanksgiving when I go back home to Atlanta. Through this I should be able to volunteer in my home town which I would prefer because it is my home town, I know it better, and it has a large amount of homeless. On thanksgiving it will be helping have a thanksgiving feast for the homeless. I have also thought about people I could interview. I think it might be interesting to interview a person who works with helping the homeless, or maybe even a person who is homeless themselves.
I plan at this point to hopefully be volunteering with Hosea Feed the Hungry for Thanksgiving when I go back home to Atlanta. Through this I should be able to volunteer in my home town which I would prefer because it is my home town, I know it better, and it has a large amount of homeless. On thanksgiving it will be helping have a thanksgiving feast for the homeless. I have also thought about people I could interview. I think it might be interesting to interview a person who works with helping the homeless, or maybe even a person who is homeless themselves.
Tuesday, November 18, 2008
Tuesday, November 11, 2008
Paragraphs 4 Modes
Song:
The four modes included in my topic of the Roma people or the Gypsies cover aspects about gypsies people may not know. The first is a song entitled Bublitchski by Gogol Bordello. The band models their music after traditional gypsy styled music. This song is one of the ones they made that is instrumental and most similar to it as many of their other songs incorporate punk into the gypsy sound. The song demonstrates the type of music which originates from places in Europe like the Ukraine and Romania. Many of the Roma use music as a form of entrepreneurship. Music may be played on the streets or wherever the Roma can find in order to have people donate money to the people or play for audiences for money. The music has a strong, identifiable sound that reflect on the Roma people.
Art:
Another form of entrepreneurship is craftsmanship. Like in the image of the necklace made by the Roma people it can be seen handy work and making of items in order to make a living as a part of the culture. The Roma make small crafts like bracelets, earrings, and necklaces in order to sell on the streets and make quick cash. The perfect the craftsmanship of the work of jewelry and then sell it. Many of the pieces are one of a kind hand made which make the jewelry more original and desirable. This is a good reason to be able to make the prices higher.
Movie:
Hunchback of Notre Dame is a disney movie that takes place in France. The movie is about the relationship between Esmeralda and Quasimodo. Esmeralda pertains to the Gypsy culture in that she is meant to be a gypsy in this movie. Esmeralda specifies in the entrepreneurship of dancing. The young woman dances on the streets and people give her money. Much like the Gypsies in Europe by making money through self-specialized trades and using them in public to make a living. Esmeralda is seen in the movie as a young woman who is very pretty and dresses in flowing skirts with bangles while she dances. This is a part of the culture of the Roma to be wearing flowing skirts and jewelry (Personal Interview).
Book:
The four modes included in my topic of the Roma people or the Gypsies cover aspects about gypsies people may not know. The first is a song entitled Bublitchski by Gogol Bordello. The band models their music after traditional gypsy styled music. This song is one of the ones they made that is instrumental and most similar to it as many of their other songs incorporate punk into the gypsy sound. The song demonstrates the type of music which originates from places in Europe like the Ukraine and Romania. Many of the Roma use music as a form of entrepreneurship. Music may be played on the streets or wherever the Roma can find in order to have people donate money to the people or play for audiences for money. The music has a strong, identifiable sound that reflect on the Roma people.
Art:
Another form of entrepreneurship is craftsmanship. Like in the image of the necklace made by the Roma people it can be seen handy work and making of items in order to make a living as a part of the culture. The Roma make small crafts like bracelets, earrings, and necklaces in order to sell on the streets and make quick cash. The perfect the craftsmanship of the work of jewelry and then sell it. Many of the pieces are one of a kind hand made which make the jewelry more original and desirable. This is a good reason to be able to make the prices higher.
Movie:
Hunchback of Notre Dame is a disney movie that takes place in France. The movie is about the relationship between Esmeralda and Quasimodo. Esmeralda pertains to the Gypsy culture in that she is meant to be a gypsy in this movie. Esmeralda specifies in the entrepreneurship of dancing. The young woman dances on the streets and people give her money. Much like the Gypsies in Europe by making money through self-specialized trades and using them in public to make a living. Esmeralda is seen in the movie as a young woman who is very pretty and dresses in flowing skirts with bangles while she dances. This is a part of the culture of the Roma to be wearing flowing skirts and jewelry (Personal Interview).
Book:
Monday, November 10, 2008
Vogler Annotation p.231-291
Vogler, Christopher. “The Writer’s Journey: Mythic Structure for Writers." Studio City, CA: Michael Wiese Productions, 1998 p. 231-291.
Summary:
Vogler's Epilogue: Looking Back on the Journey is a chapter that covers the purpose and success of the story, and gives more examples of movies that use the journey in different ways. The final and best measure of a story's excellence is with the audience. This is determined by the popularity and "lasting effect" (232). Vogler then discusses the stages for writing a story and using the outline through the previous chapters. This is much like a pre-made design for a powerpoint. The writer must choose design templates and types of outline. Looking a Titanic and its success Vogler goes over the ideas that its success is because it was extensive over different people and archetypes. This let the viewer to relate to people on the screen, feel their emotions, and have questions arise. Titanic is an excellent example for the hero's journey. However, suddenly in the end there is a twist of a less than happy ending. Because of this one would tend to believe a movie such as this would do poorly in theaters. However, this was proven wrong. It may have been successful because of its epic story that many people recognize. TItanic's success was very much a gamble for the producers.
The gamble made for suspense before its release and sure success. The Lion King is talked about as well in this section of Vogler's work. Vogler goes over how the movie is based off Hamlet. The Lion King uses Simba as the Hero who goes through Vogler's Hero's Journey. Vogler spent much of this section critiquing The Lion King. Vogler particularily did not feel happy with the relations to religion and church such as with the Baptism of Simba.
Reaction:
I found this section pretty interesting. I especially liked how The Lion King related to Hamlet. This is something I never would have picked up on when I was younger, and possibly not ever. This is a very interesting way of looking at the movie and very creative for Disney. This may be why the first Lion King was so much more of a success than any of the other sequels to the movie. I also found it very interesting about the archetypes and many different kinds of people being a reason for the Titanic to be such a success. Despite the unusual and depressing ending, the movie was a huge success. This was partially due to the fact that so many different kinds of people were portrayed and with different archetypes which made the movie relatable to a large audience.
Questions:
1. If there were no Upper or lower cast in the Titanic, would the movie have been a flop in the media?
2. Do you think the connection between the Lion King and Hamlet was done on purpose, or just similar plotlines that are common that would make them seem connected when on accident?
3. What do you think of Vogler's harsh critique of the Lion King?
Summary:
Vogler's Epilogue: Looking Back on the Journey is a chapter that covers the purpose and success of the story, and gives more examples of movies that use the journey in different ways. The final and best measure of a story's excellence is with the audience. This is determined by the popularity and "lasting effect" (232). Vogler then discusses the stages for writing a story and using the outline through the previous chapters. This is much like a pre-made design for a powerpoint. The writer must choose design templates and types of outline. Looking a Titanic and its success Vogler goes over the ideas that its success is because it was extensive over different people and archetypes. This let the viewer to relate to people on the screen, feel their emotions, and have questions arise. Titanic is an excellent example for the hero's journey. However, suddenly in the end there is a twist of a less than happy ending. Because of this one would tend to believe a movie such as this would do poorly in theaters. However, this was proven wrong. It may have been successful because of its epic story that many people recognize. TItanic's success was very much a gamble for the producers.
The gamble made for suspense before its release and sure success. The Lion King is talked about as well in this section of Vogler's work. Vogler goes over how the movie is based off Hamlet. The Lion King uses Simba as the Hero who goes through Vogler's Hero's Journey. Vogler spent much of this section critiquing The Lion King. Vogler particularily did not feel happy with the relations to religion and church such as with the Baptism of Simba.
Reaction:
I found this section pretty interesting. I especially liked how The Lion King related to Hamlet. This is something I never would have picked up on when I was younger, and possibly not ever. This is a very interesting way of looking at the movie and very creative for Disney. This may be why the first Lion King was so much more of a success than any of the other sequels to the movie. I also found it very interesting about the archetypes and many different kinds of people being a reason for the Titanic to be such a success. Despite the unusual and depressing ending, the movie was a huge success. This was partially due to the fact that so many different kinds of people were portrayed and with different archetypes which made the movie relatable to a large audience.
Questions:
1. If there were no Upper or lower cast in the Titanic, would the movie have been a flop in the media?
2. Do you think the connection between the Lion King and Hamlet was done on purpose, or just similar plotlines that are common that would make them seem connected when on accident?
3. What do you think of Vogler's harsh critique of the Lion King?
Wednesday, November 5, 2008
4 Modes
Movie:
Time of the Gypsies directed by Emir Kusturica
Song:
Gogol Bordello Bublitschki
Book:
Malcsive Gorky "Malcar Chiedra" (sp?)
Art:
Time of the Gypsies directed by Emir Kusturica
Song:
Gogol Bordello Bublitschki
Book:
Malcsive Gorky "Malcar Chiedra" (sp?)
Art:
Sunday, November 2, 2008
Bell Jar Plath One good Paragraph
Plath's The Bell Jar is a story about Esther who's journey takes her through inner problems that bring her to a Special World she desires to escape from. Obstacles and Threshold Guardians cause ordeals such as her losing of virginity and need to be taken to the hospital. She begins to see things more independently, realizing she does not need to stay at the Asylum. The ordeal to leave the asylum and go to college is a whole different ordeal that she must go through. The story's sequence of events are similar to Vogler's Hero's Journey with the Ordinary World, then taking her to the Asylum or Special World, where she meets mentors like her caretaker who commits suicide adding to the many obstacles in her path. She then gets the her Road Back and reward by finally leaving the Asylum.
Vogler Annotation p.197-228
Vogler, Christopher. “The Writer’s Journey: Mythic Structure for Writers." Studio City, CA: Michael Wiese Productions, 1998 p. 197-228.
Summary:
In The Resurrection of a story the hero comes to the final climax, which is the "last and most dangerous meeting with death" (197). This section acts as the purifaction of the hero before his or her return to the Ordinary World. The hero may refind themself or a new personality may go into play. This may be a result of cleansing or past ordeals. The death and rebirth of tragic heroes are the resurrected. A place of resurrection may involve a climax with choice for the hero; he or she may face a challenge or unexpected choices and be forced to choose a certain path. Choices may involve romance. The Climax may involve "different levels of awareness" that involve mind, body, and emotion (202). The climax acts as a purifying emotional release for the hero. The last chance gives the hero a final attempt to change attitude or behavior. The resurrection can also be a time for a wrong choice or path. This can be a physical event or an inner challenge with the hero.
Following the Resurrection of the Hero's Journey is the Return with the Elixir. The elixir is the new item that shows their journey and new self as proof and to share with others. A story weaves and knots plot-work together to create conflict and drama. This is what makes subplots so important. A story may also be a circular story where there is a "sense of closure and completion" (216). The opposite is the open ended story form in which leaves a few possibly desired loose ends. The return with the Elixir can fall flat if the plot is resolved too orderly or is predictable. A twist or surprise may help to get around a flat ending.
Reaction:
I thought Vogler went into extreme depth of all the kinds of endings to a story in the Return with the Elixir chapter. I felt he was dead on in how the reader feels with each different kind. This chapter opened my eyes to just how many different branches there are to ending a story. This part seems to be a key part of the story, leaving the final impression on the reader. The resurrection was a little dry but still very helpful. It went into the climax and how the hero may have choices. I had not thought about the choices being a part of the resurrection and found that very interesting. I also had not come across the idea that there are different levels of awareness that involved the mind body and emotion.
Questions:
1. Could the Resurrection be skipped over, or would that leave out too much of the climax of the story?
2. At which of the two chapters is there the most heightened suspense generally? Can it switch between the two?
3. If the hero doesn't return with an elixir does the reader feel less satisfied?
Summary:
In The Resurrection of a story the hero comes to the final climax, which is the "last and most dangerous meeting with death" (197). This section acts as the purifaction of the hero before his or her return to the Ordinary World. The hero may refind themself or a new personality may go into play. This may be a result of cleansing or past ordeals. The death and rebirth of tragic heroes are the resurrected. A place of resurrection may involve a climax with choice for the hero; he or she may face a challenge or unexpected choices and be forced to choose a certain path. Choices may involve romance. The Climax may involve "different levels of awareness" that involve mind, body, and emotion (202). The climax acts as a purifying emotional release for the hero. The last chance gives the hero a final attempt to change attitude or behavior. The resurrection can also be a time for a wrong choice or path. This can be a physical event or an inner challenge with the hero.
Following the Resurrection of the Hero's Journey is the Return with the Elixir. The elixir is the new item that shows their journey and new self as proof and to share with others. A story weaves and knots plot-work together to create conflict and drama. This is what makes subplots so important. A story may also be a circular story where there is a "sense of closure and completion" (216). The opposite is the open ended story form in which leaves a few possibly desired loose ends. The return with the Elixir can fall flat if the plot is resolved too orderly or is predictable. A twist or surprise may help to get around a flat ending.
Reaction:
I thought Vogler went into extreme depth of all the kinds of endings to a story in the Return with the Elixir chapter. I felt he was dead on in how the reader feels with each different kind. This chapter opened my eyes to just how many different branches there are to ending a story. This part seems to be a key part of the story, leaving the final impression on the reader. The resurrection was a little dry but still very helpful. It went into the climax and how the hero may have choices. I had not thought about the choices being a part of the resurrection and found that very interesting. I also had not come across the idea that there are different levels of awareness that involved the mind body and emotion.
Questions:
1. Could the Resurrection be skipped over, or would that leave out too much of the climax of the story?
2. At which of the two chapters is there the most heightened suspense generally? Can it switch between the two?
3. If the hero doesn't return with an elixir does the reader feel less satisfied?
Wednesday, October 29, 2008
Vogler Annotation p.175-194
Vogler, Christopher. “The Writer’s Journey: Mythic Structure for Writers." Studio City, CA: Michael Wiese Productions, 1998 p. 175-194.
Summary:
The Reward is used as a consequence for the difficult encounter with death for the Hero. The hero may use this reward as a time to relax and throw a celebration so as to be rejuvenated for returning to the Upper World. Scenes like these act also as breaks for the audience to "catch [his or her] breath" and begin to know the characters better (177). The aftermath may be used as a chance for a love scene. The Hero has the chance in the aftermath for the "seizing of the sword." This is when the hero takes possession of what was sought after in the Special World. The heros in the reward are acknowledged as changed persons, emerged as a special or new being; they may have newer and wiser perceptions or seeing through deception. Another form of a new Hero is the enlightened, with self-realization. Others may also acknowledge and see the new Heroes and thus have an epiphany in which the realization is related to a higher being, or relation to divinity. The survival of death may cause ego inflation and distort the hero's perceptions in a negative aspect as well, causing another Ordeal.
With the end of the celebration or reward the hero must return to the Ordinary World on the Road Back. This Road back may either be back to the Ordinary World, or to an entirely different destination. The journey represents "the resolve of the hero to return to the Ordinary World and implement the lessons learned in the Special World" (189). This journey is a rededication to the journey after the moment of rest and celebration previous to it. Often heroes become more motivated when opposing forces come back and challenge the Hero. The hero then feels the need to "finish the opponent" and have a final end. These forces can come back in a last effort which give the hero a need to finish them off. By opposing the last force the hero may have a cost to his or her fortunes such as wounding the hero or hero's allies. Another form of pursuit is that of the pursuit of admirers. Villain escapes may occur to re inflict drama into the story. Setbacks may occur to have a climax of Act Two; this may be brief or a sequence of events.
Reaction:
I found the Reward of Vogler to be fairly repetitive and much of the information had "fluffers" in it. I felt Vogler could have shortened the chapter with ease. However, I liked how Vogler shows the reader this can be used as a time of breathing for the audience. I thought this was an interesting point, after much dramatic events its nice to have a moment of rest. People can feel overwhelmed if there is too much action, or begin to be numb to the action. I had never thought of the pursuit by admirers and enjoyed that section, as if the admirers are a twist on a villain. I found the Road Back to be one of the more surprising chapters out of Vogler's text, with many twists and turns I have not thought of. I feel the Road Back may be a time for movies and stories to take turns that make them into a huge surprise.
Questions:
If there is no moment of break and relaxation for the audience, do they generally feel overwhelmed?
If a hero's perceptions are deceived and ego inflated by the cheating of death, is there likely to be another ordeal the hero must overcome in the story?
With the pursuit of admirers could this be negative and positive, on or the other, or only one?
Summary:
The Reward is used as a consequence for the difficult encounter with death for the Hero. The hero may use this reward as a time to relax and throw a celebration so as to be rejuvenated for returning to the Upper World. Scenes like these act also as breaks for the audience to "catch [his or her] breath" and begin to know the characters better (177). The aftermath may be used as a chance for a love scene. The Hero has the chance in the aftermath for the "seizing of the sword." This is when the hero takes possession of what was sought after in the Special World. The heros in the reward are acknowledged as changed persons, emerged as a special or new being; they may have newer and wiser perceptions or seeing through deception. Another form of a new Hero is the enlightened, with self-realization. Others may also acknowledge and see the new Heroes and thus have an epiphany in which the realization is related to a higher being, or relation to divinity. The survival of death may cause ego inflation and distort the hero's perceptions in a negative aspect as well, causing another Ordeal.
With the end of the celebration or reward the hero must return to the Ordinary World on the Road Back. This Road back may either be back to the Ordinary World, or to an entirely different destination. The journey represents "the resolve of the hero to return to the Ordinary World and implement the lessons learned in the Special World" (189). This journey is a rededication to the journey after the moment of rest and celebration previous to it. Often heroes become more motivated when opposing forces come back and challenge the Hero. The hero then feels the need to "finish the opponent" and have a final end. These forces can come back in a last effort which give the hero a need to finish them off. By opposing the last force the hero may have a cost to his or her fortunes such as wounding the hero or hero's allies. Another form of pursuit is that of the pursuit of admirers. Villain escapes may occur to re inflict drama into the story. Setbacks may occur to have a climax of Act Two; this may be brief or a sequence of events.
Reaction:
I found the Reward of Vogler to be fairly repetitive and much of the information had "fluffers" in it. I felt Vogler could have shortened the chapter with ease. However, I liked how Vogler shows the reader this can be used as a time of breathing for the audience. I thought this was an interesting point, after much dramatic events its nice to have a moment of rest. People can feel overwhelmed if there is too much action, or begin to be numb to the action. I had never thought of the pursuit by admirers and enjoyed that section, as if the admirers are a twist on a villain. I found the Road Back to be one of the more surprising chapters out of Vogler's text, with many twists and turns I have not thought of. I feel the Road Back may be a time for movies and stories to take turns that make them into a huge surprise.
Questions:
If there is no moment of break and relaxation for the audience, do they generally feel overwhelmed?
If a hero's perceptions are deceived and ego inflated by the cheating of death, is there likely to be another ordeal the hero must overcome in the story?
With the pursuit of admirers could this be negative and positive, on or the other, or only one?
Thursday, October 23, 2008
Answer to Gregory
Why do you think we like death and rebirth so much, and not just death on its own?
I think we like the idea of death with rebirth so much more than jsut death because death seems like such an ending to people, an unknown territory. Without rebirth, we don't know at all if what is coming will be positive, negative, or neutral. With knowing there is rebirth, if death is a negative there is always something more to anticipate.
I think we like the idea of death with rebirth so much more than jsut death because death seems like such an ending to people, an unknown territory. Without rebirth, we don't know at all if what is coming will be positive, negative, or neutral. With knowing there is rebirth, if death is a negative there is always something more to anticipate.
Strength and Weakness Overview
The general Strength in my peer review was my thesis was strong, well-defined and interesting
The general Weakness in my peer review was organization of my information, and knowledge gained.
The general Weakness in my peer review was organization of my information, and knowledge gained.
Monday, October 20, 2008
Vogler Annotation p.143-173
Vogler, Christopher. “The Writer’s Journey: Mythic Structure for Writers." Studio City, CA: Michael Wiese Productions, 1998 p. 143-173.
Summary:
Inside the special world is another smaller world with its own threshold guardians. This is the Approach to the Innermost Cave. In this world there may be courtship such as with a romance. Much of the time this section is used for more information or as training for a larger ordeal. Series of obstacles may be met in this stage since allies and teams have already been made in the previous stages. Allusions and threshold guardians may cause more problems in this world. Preparation is key to the hero, as well as warning. Sometimes a human appeal may be used to get by obstacles with the threshold guardian in this stage. Complications and “higher stakes” may create more drama in this stage with heightened suspense. Breakthrough may occur towards the end of the stage with force used to get through the “final veil” in the innermost cave.
The Ordeal is the stage where there is a crisis that comes after the approach to the innermost cave. There is a strong sense of the need for drama and with extreme emotions in one direction like depression; there can thereafter be extreme emotions in the opposite, like happiness. This is the elasticity of emotion. Much of the Ordeal is the sense that the hero will die, and then when moving beyond that a rebirth. With the rebirth there is a greater wisdom and understanding within the hero. The ordeal can also relate to romance or relationships between parent and child. The challenge may be that of the fatal attraction or the youth vs. age. The face of death or fatal relationships and heightened emotions are the basis for the Ordeal.
Reaction
This section I see as the climax of a story. The innermost cave is used to be the ultimate test with harsher obstacles. The hero must breakthrough and use what is learned with allies. I feel like this is less relatable to real life than most of the other chapters. However, one could possibly see this section as the entire journey of a person’s life. If the story was in real life, this section would be the longest, as it is the final test and obstacles. I found the ideas about projecting to be specifically interesting. It is something I learned about in Psychology and found it interesting then as well. With projections, it is the person putting what they don’t like subconsciously on another person. I find it amazing that the brain could do this without the person noticing.
Questions
1. If there is not rollercoaster-heightened elevation changing in a story but one climax then does that cause the story to be less interesting or repetitive or necessary to shorten?
2. What kind of internal threshold guardians may be used in the innermost cave? Can you think of an example?
3. How do you think you yourself projects onto others? Do you think when you don’t like a certain person it is you projecting qualities about yourself onto them? Or is it possible to just feel negatively about them?
Summary:
Inside the special world is another smaller world with its own threshold guardians. This is the Approach to the Innermost Cave. In this world there may be courtship such as with a romance. Much of the time this section is used for more information or as training for a larger ordeal. Series of obstacles may be met in this stage since allies and teams have already been made in the previous stages. Allusions and threshold guardians may cause more problems in this world. Preparation is key to the hero, as well as warning. Sometimes a human appeal may be used to get by obstacles with the threshold guardian in this stage. Complications and “higher stakes” may create more drama in this stage with heightened suspense. Breakthrough may occur towards the end of the stage with force used to get through the “final veil” in the innermost cave.
The Ordeal is the stage where there is a crisis that comes after the approach to the innermost cave. There is a strong sense of the need for drama and with extreme emotions in one direction like depression; there can thereafter be extreme emotions in the opposite, like happiness. This is the elasticity of emotion. Much of the Ordeal is the sense that the hero will die, and then when moving beyond that a rebirth. With the rebirth there is a greater wisdom and understanding within the hero. The ordeal can also relate to romance or relationships between parent and child. The challenge may be that of the fatal attraction or the youth vs. age. The face of death or fatal relationships and heightened emotions are the basis for the Ordeal.
Reaction
This section I see as the climax of a story. The innermost cave is used to be the ultimate test with harsher obstacles. The hero must breakthrough and use what is learned with allies. I feel like this is less relatable to real life than most of the other chapters. However, one could possibly see this section as the entire journey of a person’s life. If the story was in real life, this section would be the longest, as it is the final test and obstacles. I found the ideas about projecting to be specifically interesting. It is something I learned about in Psychology and found it interesting then as well. With projections, it is the person putting what they don’t like subconsciously on another person. I find it amazing that the brain could do this without the person noticing.
Questions
1. If there is not rollercoaster-heightened elevation changing in a story but one climax then does that cause the story to be less interesting or repetitive or necessary to shorten?
2. What kind of internal threshold guardians may be used in the innermost cave? Can you think of an example?
3. How do you think you yourself projects onto others? Do you think when you don’t like a certain person it is you projecting qualities about yourself onto them? Or is it possible to just feel negatively about them?
Tuesday, October 14, 2008
Sources for research paper
http://www.migrationinformation.org/Feature/display.cfm?id=308
http://www.radoc.net/radoc.php?doc=art_d_identity_sexualization&lang=en&articles=true
http://en.wikipedia.org/wiki/Roma_people
In the Life of a Romany Gypsy by Manfri Frederick Wood
We are the Romani People by Ian Hancock
http://www.radoc.net/radoc.php?doc=art_d_identity_sexualization&lang=en&articles=true
http://en.wikipedia.org/wiki/Roma_people
In the Life of a Romany Gypsy by Manfri Frederick Wood
We are the Romani People by Ian Hancock
Monday, October 13, 2008
Vogler Annotation p.127-141
Vogler, Christopher. “The Writer’s Journey: Mythic Structure for Writers." Studio City, CA: Michael Wiese Productions, 1998 p. 107-125.
Summary:
The crossing of the first threshold in the hero's journey marks the time when the hero makes an act of will that commits them "wholeheartedly to the adventure" (127). The mentor may be used to push the hero into the act, but generally some external factor will be the cause of the commitment to this new adventure. An event like murder of a loved one can be used to push the character into the Special world. Internal events may also play a role in the crossing of the first threshold. When the character comes to the threshold there is likely to be characters who try to act as obstacles and block the way. These are known as threshold guardians. They act as the obstacles, and can be seen as a part of the training of the hero for future difficulties. Crossing the first threshold takes a special courage or leap of faith from the hero to begin in all earnestness the new adventure.
In this new adventure in the Special World the hero will have tests, allies, and enemies, which are all important. Contrast should be noticeable between the ordinary world and the special world. The special world may have tests that act as a continuation of the mentor's training for the hero. The hero may fall in traps as the special world is commonly controlled by the villain or shadow. The hero may go through the special world with a sidekick or ally. The allies act as supporters of the hero. Many allies may form a team for the hero. Encountering of the enemy or the enemy's servants is likely to occur. Enemies can range from antagonists, to simply a rival who is only a threat in terms of competition.
Reaction:
I found the tests, allies, and enemies chapter interesting. Vogler talks about teams created in the Special world which I never gave much thought to. Upon reading about it I realized this is fairly common, for example in the Wizard of Oz Dorothy first makes allies and friends, and this expands from one to three; this is more like a team. I especially enjoyed the line Vogler wrote about leaps of faith. Vogler states, "we must take the leap of faith into the unknown or else the adventure will never really begin" (129). This was interesting to me because its a way I believe people should go about their own lives. If a story uses this, it is likely to intrigue the reader because they may relate.
Questions:
1. What is a time in your life when you were in a "special world" and found an enemy who created obstacles and problems for you?
2. Does the hero see their sidekicks and allies as friends more so or as supporters who are below them?
3. Are sidekicks or allies necessary like many view friends or can the hero go alone?
Summary:
The crossing of the first threshold in the hero's journey marks the time when the hero makes an act of will that commits them "wholeheartedly to the adventure" (127). The mentor may be used to push the hero into the act, but generally some external factor will be the cause of the commitment to this new adventure. An event like murder of a loved one can be used to push the character into the Special world. Internal events may also play a role in the crossing of the first threshold. When the character comes to the threshold there is likely to be characters who try to act as obstacles and block the way. These are known as threshold guardians. They act as the obstacles, and can be seen as a part of the training of the hero for future difficulties. Crossing the first threshold takes a special courage or leap of faith from the hero to begin in all earnestness the new adventure.
In this new adventure in the Special World the hero will have tests, allies, and enemies, which are all important. Contrast should be noticeable between the ordinary world and the special world. The special world may have tests that act as a continuation of the mentor's training for the hero. The hero may fall in traps as the special world is commonly controlled by the villain or shadow. The hero may go through the special world with a sidekick or ally. The allies act as supporters of the hero. Many allies may form a team for the hero. Encountering of the enemy or the enemy's servants is likely to occur. Enemies can range from antagonists, to simply a rival who is only a threat in terms of competition.
Reaction:
I found the tests, allies, and enemies chapter interesting. Vogler talks about teams created in the Special world which I never gave much thought to. Upon reading about it I realized this is fairly common, for example in the Wizard of Oz Dorothy first makes allies and friends, and this expands from one to three; this is more like a team. I especially enjoyed the line Vogler wrote about leaps of faith. Vogler states, "we must take the leap of faith into the unknown or else the adventure will never really begin" (129). This was interesting to me because its a way I believe people should go about their own lives. If a story uses this, it is likely to intrigue the reader because they may relate.
Questions:
1. What is a time in your life when you were in a "special world" and found an enemy who created obstacles and problems for you?
2. Does the hero see their sidekicks and allies as friends more so or as supporters who are below them?
3. Are sidekicks or allies necessary like many view friends or can the hero go alone?
Thursday, October 9, 2008
Vogler Question Response
Vougler also states that sometimes the hero mentor relationship can take a tragic of deadly turn if the hero is ungrateful. Can you think of a time when you were ungrateful to someone who has helped to mentor you?
When I was in elementary school, my dad would often help me almost every night with my math homework. He was a good mentor, but I would get frustrated with the math and then the frustration with the math would turn into frustration with my dad. Because of this I was ungrateful of his mentoring help, at the time at least, and it would then make my dad frustrated and it would just be a bunch of angry emotions. However, looking back I am grateful for his help.
When I was in elementary school, my dad would often help me almost every night with my math homework. He was a good mentor, but I would get frustrated with the math and then the frustration with the math would turn into frustration with my dad. Because of this I was ungrateful of his mentoring help, at the time at least, and it would then make my dad frustrated and it would just be a bunch of angry emotions. However, looking back I am grateful for his help.
Tuesday, October 7, 2008
Vogler Annotation p. 107-125
Vogler, Christopher. “The Writer’s Journey: Mythic Structure for Writers." Studio City, CA: Michael Wiese Productions, 1998 p. 107-125.
Summary
The Refusal of the Call in the Hero's Journey can be positive, neutral, or negative. Vogler speaks about how persistent refusal causes tragedy. This would be the "mark of a tragic hero" (109). Excuses are used by the Hero's to refuse the call. Willing Heroes show acceptance of the challenge. They may have doubts and fears but they have overcome them to accept the challenge. Threshold guardians may still test the heroes in their journey or block the heroes before the journey has begun. In the journey, there may be a secret door. In this situation it is an intangible object for the hero that is told it is intangible. By being told this the hero will come to break the rules and then have to overcome the consequences.
The Mentor acts to protect, guide, and help the Hero in their journey. This is important because the hero needs a place to go to for advice in times of crisis. Mentors may also give the hero a wrong sense of direction that can be better for the hero in the long run. Mentors and Heroes may have conflicts as well. They can relate to parents, a person who is there for you but has fallacies.
Reaction
I found the Refusal of the call not quite as interesting as the other aspects Vogler covers on texts. It seems slightly less important, although I can see how it would be important. Without the refusal of the call, the "get-going" for the story may lack a little drama. I found the mentor of more importance, however. The mentor is a guide for the character, whether it be internal or another being. The mentor is a key aspect and I could easily see it in stories once knowing what exactly to look for.
Questions
1. In what ways have you refused a call to adventure?
2. Who is the biggest mentor role in your life? Or are you the bigger mentor? Why is this?
3. Between the two, which do you think is of less importance?
Summary
The Refusal of the Call in the Hero's Journey can be positive, neutral, or negative. Vogler speaks about how persistent refusal causes tragedy. This would be the "mark of a tragic hero" (109). Excuses are used by the Hero's to refuse the call. Willing Heroes show acceptance of the challenge. They may have doubts and fears but they have overcome them to accept the challenge. Threshold guardians may still test the heroes in their journey or block the heroes before the journey has begun. In the journey, there may be a secret door. In this situation it is an intangible object for the hero that is told it is intangible. By being told this the hero will come to break the rules and then have to overcome the consequences.
The Mentor acts to protect, guide, and help the Hero in their journey. This is important because the hero needs a place to go to for advice in times of crisis. Mentors may also give the hero a wrong sense of direction that can be better for the hero in the long run. Mentors and Heroes may have conflicts as well. They can relate to parents, a person who is there for you but has fallacies.
Reaction
I found the Refusal of the call not quite as interesting as the other aspects Vogler covers on texts. It seems slightly less important, although I can see how it would be important. Without the refusal of the call, the "get-going" for the story may lack a little drama. I found the mentor of more importance, however. The mentor is a guide for the character, whether it be internal or another being. The mentor is a key aspect and I could easily see it in stories once knowing what exactly to look for.
Questions
1. In what ways have you refused a call to adventure?
2. Who is the biggest mentor role in your life? Or are you the bigger mentor? Why is this?
3. Between the two, which do you think is of less importance?
Friday, October 3, 2008
3 Steps to Revision
Revise:
1. I will work on the "So What"
2. I will help connect ideas in what is going on in my story for the reader to gain personal insight and understand without having to work too hard
3. I will work on making "hyperlinks" so with heavily packed areas with information the reader can come to understand some things through all the activities going on.
Edit:
1. I will work on commas with FANBOYS.
2. I will work on specifics- no things, its, etc.
3. Work on transitions between ideas.
Book 1 Kafka Quiz
1. Connect the Ordinary World and the Call to Adventure to your reading of Book 1 of _The Metamorphosis_ Explain the connection.
2. Are there any social issues being critiqued in the story? How does "The Red Scare" relate to Kafka's work?
3. What does Gregor turn into in the story?
In the book one of The Metamorphosis Gregor is in the Ordinary World when he receives his call to adventure. His call to adventure though is still located in the ordinary world and this is to overcome this metamorphosis and get out of bed and do as he normally would do, go to work.
In The Red Scare the Ordinary world was the time before the red scare. Then when the Soviet Union was uncovered and the Red Scare gained recognition, the call of adventure was put forth by the red scare changing the ordinary world up a bit.
2. Are there any social issues being critiqued in the story? How does "The Red Scare" relate to Kafka's work?
Isusues being critiqued are those of the workforce. Gregor in the story seems to be much of a workaholic, putting work before everything and at his top priority. His family even said that the boss was the only person who could for sure get him out of bed and all he did was work and then come home.
In the video, the upbringing of TVs brought more attention to the people and then the red scare grew among the people.
3. What does Gregor turn into in the story?
He turns into a venomous monster bug.
Monday, September 29, 2008
Vogler Annotation p. 83-105
Summary
In this chapter Vogler looks at the ordinary world and how it sets up and keeps a story flowing. A prelude or some kind or beginning before the story takes place often gives the reader a sense of the ordinary world. It may also give some background, or grab the attention of the reader. However, there are also other ways to set up an atmosphere or mood for the reader. The title can "clue to the nature of the story and the writer's attitude" (85). Opening images may also be used to create a certain feeling for the reader or viewer. Vogler also touches on the fact that the ordinary world should be in contrast to the special world. The ordinary world may be used to foreshadow events in the future. The ordinary world should also set the theme of the story. The reader may be drawn in to a story by inner and outer problems. These can cause questions for the hero which is important to have so a reader will be interested. Without inner problems a character may seem "flat and uninvolving" (88). The identification of the hero is very important for the audience. A hero's flaw or lacking of something gives the audience something to want the hero to gain during the story, and what's at stake is important so the audience know this flaw is something that needs to be overcome or something the character struggles with. The Call to Adventure is used in stories to "get it rolling." Temptation, synchonicity, Heralds of change, and more may be used to create elements of danger or conflict.
Reaction
These two chapters went thoroughly into the Ordinary World, themes, conflicts, and the Call to Adventure. I especially like the call to adventure chapter because I felt it covered the topic well. It was also interesting to see how many different ways stories can go into the call to adventure. For instance, there may be a lack of excitement, or there may be an abundance calls to adventure. I thought it was interesting how the chapter touched on not all calls o adventure being a positive summoning to a better place. The ordinary world gave a lot of information on how to make a character interesting. I think this will be helpful in my story writing for class because I could see why these things like inner and outer conflict may be interesting in a character. At least in my own thoughts I know I find it more interesting if there is inner and outer conflict, but I had not been consciously aware of it before.
Questions
1. If the characters do not have any call to adventure, are there other ways to go about an interesting point in the story? What stories do something like this if any?
2. Have you personally ever had to overcome a stake in your life?
3. Is it necessary to some level have some background in a story for the audience?
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 83-105.
Saturday, September 27, 2008
Examples for Ethos, Pathos, and Logos
Ethos:
Song: Head South by Modest Mouse
Visual:
Pathos:
Song: The Wrong Way by Sublime
Visual:
Logos:
Song: John Wayne Gacy Jr. by Sufjan Stevens
Visual:
Song: Head South by Modest Mouse
Visual:
Pathos:
Song: The Wrong Way by Sublime
Visual:
Logos:
Song: John Wayne Gacy Jr. by Sufjan Stevens
Visual:
Response to Joy's Question
1. Which of the archetypes discussed in Book One do you like the most? Why?
I liked the Shapeshifter best out of the archetypes. The shapeshifter I feel can most easily be anything and relate to anyone. Everyone has different ways they act- around school, family, friends, boyfriends or girlfriends, so it is something many people can relate to. The Shapeshifter "elusive" and almost mysterious. I like this because I know in my case I am much of the time drawn to those that are mysterious because I wonder about them and am curious to know more.
I liked the Shapeshifter best out of the archetypes. The shapeshifter I feel can most easily be anything and relate to anyone. Everyone has different ways they act- around school, family, friends, boyfriends or girlfriends, so it is something many people can relate to. The Shapeshifter "elusive" and almost mysterious. I like this because I know in my case I am much of the time drawn to those that are mysterious because I wonder about them and am curious to know more.
Tuesday, September 23, 2008
Vogler Annotation
Summary:
In many stories there are a lesser villain, or a neutral character acting as a part of the landscape known as the Threshold Guardians. These characters act to test the hero in the journey. It is important and necessary for the hero to see that the Threshold Guardian is not an enemy, but an ally. They act as though they are a problem, but really may be doing the hero a favor. The Threshold Guardians stand for small obstacles that may be in a person’s way in the real world. Much of the time, these obstacles are like ones that may mean a large change for one’s self. It is hard to accept the change by not only oneself but also by family and friends. Heralds are the piece of the story that presents the change for the hero. The Herald acts like a messenger, telling the hero when it is time for change. “Heralds provide motivation, offer the hero a challenge, and get the story rolling” (56). Heralds may also be negative or neutral; they are not always a positive character.
The Shapeshifter is the character that the hero encounters that has drastic change in their personality. This character acts to keep the hero “guessing” (59) and questioning. A large part of the archetype for the shapeshifter is the animus, which is the “male element in the female unconscious,” (60). The Shadow character acts as the dark side. These characters are usually the villains, antagonists, or enemies. Many of the times the shadow represents feelings that are held down. These characters create conflict and bring out the best in the hero. Shadows are at best usually when they have a small amount of humanness in them. This may be a hint of goodness in the midst of their evil. The Ally acts as a companion to the hero. They aid and challenge the hero. The Trickster represents the need for change and mischief. The Tricksters many of the times bring the hero down to Earth and in perspective. They also serve as comic relief.
Reaction:
Reading through all these characters, I could easily see how they are portrayed in stories and how they relate to life. I now understand why I much of the time feel that small pang of compassion for the enemy in movies or books, because of their hint of humanness. I also could see how many of these characters are seen in different ways in real life. Many of the obstacles a person comes to in their life can be seen in the characters, such as the need for change called for by the hero, or the trickster not letting someone’s ego get too big. Because a person has these type of scenarios in their own life, this is what makes stories so interesting and relatable even when the plot line is nothing like in real life.
Questions:
1. How might the Threshold Guardian prohibit the hero from moving forth? Are there instances where the hero never get pass the Threshold Guardian?
2. Are these characters always able to find relations with people in real life if one looks hard enough?
3. Can some of these characters be absent, or one added and the story still is as relatable or interesting to the reader?
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 49-80.
In many stories there are a lesser villain, or a neutral character acting as a part of the landscape known as the Threshold Guardians. These characters act to test the hero in the journey. It is important and necessary for the hero to see that the Threshold Guardian is not an enemy, but an ally. They act as though they are a problem, but really may be doing the hero a favor. The Threshold Guardians stand for small obstacles that may be in a person’s way in the real world. Much of the time, these obstacles are like ones that may mean a large change for one’s self. It is hard to accept the change by not only oneself but also by family and friends. Heralds are the piece of the story that presents the change for the hero. The Herald acts like a messenger, telling the hero when it is time for change. “Heralds provide motivation, offer the hero a challenge, and get the story rolling” (56). Heralds may also be negative or neutral; they are not always a positive character.
The Shapeshifter is the character that the hero encounters that has drastic change in their personality. This character acts to keep the hero “guessing” (59) and questioning. A large part of the archetype for the shapeshifter is the animus, which is the “male element in the female unconscious,” (60). The Shadow character acts as the dark side. These characters are usually the villains, antagonists, or enemies. Many of the times the shadow represents feelings that are held down. These characters create conflict and bring out the best in the hero. Shadows are at best usually when they have a small amount of humanness in them. This may be a hint of goodness in the midst of their evil. The Ally acts as a companion to the hero. They aid and challenge the hero. The Trickster represents the need for change and mischief. The Tricksters many of the times bring the hero down to Earth and in perspective. They also serve as comic relief.
Reaction:
Reading through all these characters, I could easily see how they are portrayed in stories and how they relate to life. I now understand why I much of the time feel that small pang of compassion for the enemy in movies or books, because of their hint of humanness. I also could see how many of these characters are seen in different ways in real life. Many of the obstacles a person comes to in their life can be seen in the characters, such as the need for change called for by the hero, or the trickster not letting someone’s ego get too big. Because a person has these type of scenarios in their own life, this is what makes stories so interesting and relatable even when the plot line is nothing like in real life.
Questions:
1. How might the Threshold Guardian prohibit the hero from moving forth? Are there instances where the hero never get pass the Threshold Guardian?
2. Are these characters always able to find relations with people in real life if one looks hard enough?
3. Can some of these characters be absent, or one added and the story still is as relatable or interesting to the reader?
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 49-80.
Tuesday, September 2, 2008
Disney or Fairytale creature like Me
The Disney character that is most like me would be Alice from Alice in Wonderland for several reasons. I am creative and love exploring and traveling. Alice proves her curiosity and love for exploring by going after the white rabbit into an unknown world. She is nice but pretty blunt about her feelings. Alice likes meeting new people and making new friends like the Cheshire cat, Mad hatter, and more. She also demonstrates she likes animals. She has a pet cat, and is chasing after a rabbit throughout the movie. She crosses the paths of many animals and shows interest in them.
This is all much like me. I love to find new things and learn. I love animals of all sorts give or take a few. I don't care for cats so much but I like them OK. Simply Alice's need for adventure and meeting new people is most like me. I love making new friends and meeting people. I also love to do new things that will give me new information about the world. Going places is an important aspect of living to me, traveling is very important. Alice and I have the same sense of what is important, like traveling, among other things. Creativity plays a big role in her acceptance of what is different and I love being creative and have grown up accepting all people, or trying my best to. All these aspects give me reason to believe that Alice and I are similar in multiple ways.
Subscribe to:
Comments (Atom)