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?
Wednesday, October 29, 2008
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.
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