Jasmine Soule
Professor Robinson
Analytical and Persuasive Writing
16 November 2008
Vogler, Christopher. “The Writer’s Journey” “Stories are alive.” The Writer’s Journey: Mythic
Structure for Writers. 3rd Edition. Studio City, California Michael Wiese Productions, 2007.
293-312.
Summary:
In this section Vogler talks about how the writer’s journey and the hero’s journey are one in the same. In most cases the writer of the story uses personal experience to create, the ordeal or shadow or threshold guardians. For instance the shadow in the story could be confusion or low self-esteem about the writer. Vogler also talks about the meaning of being a Shaman, which means “wounded healer.” Shamans are believed to have broken every bone and then been put back together. Writers have been known to experience some type of splinter in their life too. Writers and Shamans both have the ability to travel around the world and create imaginative or real stories out of their adventures. Furthermore, in the next section Vogler begins to talk about how the stories are alive for human purpose. These stories in his eyes are meant to wake the reader up or teach a listen, or mess with the reader’s emotions. These stories can bring up challenging question for the brain to wonder about. Vogler then retells his experience of reading “Rumpelstiltskin.” He also begins to speak about the power of wishing and how the hero in some cases wishes the difficult situation was different. This also goes into the difference between wanting and needing something. Sometimes the hero wants something but really he or she needs to learn the lesson in the story. Also the audience has wishes too; the stories provoke the audience to start wishing things about the story. In the end, in most cases the wishes are granted for the audience and the hero.
Reaction:
I really like that this was the last section to read because I feel that it ties everything up in the end. This section helped me to understand the meaning of creating a wonderful story. These stories may come from around but the special part about it is the writer’s imagination. These stories also help our imagination in a good ways but exploring different scenarios. I also enjoyed reading about the power of wishes and how those wishes make the story more intriguing when they are granted to the audience.
Questions:
1. Can a story still be a great story if the audience’s wishes are not granted?
2. How does the hero realize what he or she needs in their lives?
3. What is one movie that provoked emotions and questions after seeing it and why?
Monday, November 17, 2008
Friday, November 14, 2008
Reflection and Action
Rhetorical analysis - I thought my movie, image, book, and song were great examples that reflect my project two. These four modes helped me get an idea of what I was trying to display in my project two. The 4 modes helped portray my ideas and beliefs about project two.
Interview - I plan on interviewing someone who has personal experience with helping people in Africa. I would like to interview someone, who has some extent of knowledge and experience with Africa. I don't exactly know how I will interview this person but I hope to gain some information about the feeling and the appreciation of helping people.
Volunteers - I plan to volunteer for either the Aids Partnership or Child/ Youth services. I have volunteered in the past but this time will be different for me. I want hope to learn even more after volunteering about myself and others. This is a great opportunity to discover amazing stories about others or to help another person.
Interview - I plan on interviewing someone who has personal experience with helping people in Africa. I would like to interview someone, who has some extent of knowledge and experience with Africa. I don't exactly know how I will interview this person but I hope to gain some information about the feeling and the appreciation of helping people.
Volunteers - I plan to volunteer for either the Aids Partnership or Child/ Youth services. I have volunteered in the past but this time will be different for me. I want hope to learn even more after volunteering about myself and others. This is a great opportunity to discover amazing stories about others or to help another person.
Tuesday, November 11, 2008
4 Modes
The movie Hotel Rwanda is an extraordinary movie because it talks about genocide in Rwanda. This movie is seen through the eyes of a family. They are split apart because of the chaos in Rwanda. This chaos is about two tribes that are at war with each other and both want to destroy each other. The main character Don Cheadle, tries to save his family and others from the soldiers that are causing disorder. The actor Don Cheadle has also done a lot for the people of Darfur by trying to make aware of the events that are occurring. The purpose of picking this movie is to show the similarities of the genocide in Rwanda with the genocide in Darfur. This also give the audience and look at the emotional toal it has on the families living through this horrific event. I enjoyed looking at this movie because it truly touched me and I think this would be great to watch to understand what is happening in Darfur.
http://www.youtube.com/watch?v=mYwuXvA589A
The song “War Child” by Emmanuel Jal is a great song to represent the feelings and beliefs of a person who has been in a war. Emmanuel Jal was a war child at one point in his life. He talks about the struggles and issues he had to deal with as a child. This song expresses ethos and pathos through the lyrics of the song. When hearing this song, the audience can tell the pain and suffering he went through as a child and also what he feels should happen. He was a war child in the Sudanese War and now he is telling his story through his music. He is a survivor and hopes to change the world with his music and bring peace.
http://www.youtube.com/watch?v=A0Nd87lFcdc
I believe that the image I chose to use for one of my mode is simple and a strong statement. I think that the situation in Darfur is horrible and should be made more aware of than what it is now. This image is telling people to not just stand by and not help, but to take a stand and make aware of the genocide. The lives of the people of Darfur are crucial and people around the world should take notice to it. I like this image because it goes straight to the point and catches the attention of the reader. There are also facts on this image that invoke the element s of ethos, pathos and logos.
The book Not on Our Watch: The Mission to End Genocide in Darfur and Beyond, is a great book for people to read because it talks about what is happening in Darfur and other crucial areas around the world. Don Cheadle, an actor and activist, took part in writing this book to make aware of the issues and events that are occurring in Darfur. This book is about the actions anyone can take to help make aware of the genocide or raise funds or write letters. Don Cheadle also talks about other places in the world that has turmoil and needs attention so that people can get help. This is a great book for those who are conscious of this chaos and wants to help the cause.
http://search.barnesandnoble.com/booksearch/isbnInquiry.asp?r=1&ISBN=9781401303358&ourl=Not%2Don%2DOur%2DWatch%2FDon%2DCheadle
http://www.youtube.com/watch?v=mYwuXvA589A
The song “War Child” by Emmanuel Jal is a great song to represent the feelings and beliefs of a person who has been in a war. Emmanuel Jal was a war child at one point in his life. He talks about the struggles and issues he had to deal with as a child. This song expresses ethos and pathos through the lyrics of the song. When hearing this song, the audience can tell the pain and suffering he went through as a child and also what he feels should happen. He was a war child in the Sudanese War and now he is telling his story through his music. He is a survivor and hopes to change the world with his music and bring peace.
http://www.youtube.com/watch?v=A0Nd87lFcdc
I believe that the image I chose to use for one of my mode is simple and a strong statement. I think that the situation in Darfur is horrible and should be made more aware of than what it is now. This image is telling people to not just stand by and not help, but to take a stand and make aware of the genocide. The lives of the people of Darfur are crucial and people around the world should take notice to it. I like this image because it goes straight to the point and catches the attention of the reader. There are also facts on this image that invoke the element s of ethos, pathos and logos.
The book Not on Our Watch: The Mission to End Genocide in Darfur and Beyond, is a great book for people to read because it talks about what is happening in Darfur and other crucial areas around the world. Don Cheadle, an actor and activist, took part in writing this book to make aware of the issues and events that are occurring in Darfur. This book is about the actions anyone can take to help make aware of the genocide or raise funds or write letters. Don Cheadle also talks about other places in the world that has turmoil and needs attention so that people can get help. This is a great book for those who are conscious of this chaos and wants to help the cause.
http://search.barnesandnoble.com/booksearch/isbnInquiry.asp?r=1&ISBN=9781401303358&ourl=Not%2Don%2DOur%2DWatch%2FDon%2DCheadle
Monday, November 10, 2008
Anti Bib 10
Jasmine Soule’
Professor Robinson
Analytical and Persuasive Writing
09 November 2008
Vogler, Christopher. “Epilogue: Looking Back On the Journey.” The Writer’s Journey:
Mythic Structure for Writers. 3rd Edition. Studio City, California: Michael Wiese Productions,
2007. 231-291.
Summary:
In this section, Vogler talks about how the hero’s journey is a guideline. Using these guidelines will help make a successful story. The writer can break any rules they want but still have an amazing story that touches the audience. Vogler talks about having certain functions within the story to captures the readers. Stories need themes, styles, tone, characters, and other elements to develop a strong and intriguing plot. Also he begins to talk about how the pattern can be metaphor for what is happening with the story. He gives examples like comparing a story to a baseball game. Vogler also gives advice by saying that when using to pattern, he or she is creating a basics of the story. He referenced using index cards to help form the structure or plot of the story. Now the Vogler has talked about the functions of the hero’s journey, he starts to give examples of the function through old and present movies. For instance, the movie Lion King appeared in this section talking about how the model was used. He goes through the movies and points out different stages of the pattern, like ordeal and special world. Vogler believes that Rafiki in the movie was represented as the mentor of the movie. He help guide Simba and prepared for his journey. Another movie that is talked about in this stage is Pulp Fiction which is a post modern movie. Vogler says that post modernism is a representation of social disruption, war, and rapid technological change. The audience recognizes this and enjoys watching a movie like Pulp Fiction. In this movie the audience can see how the characters compare themselves to another culture. Lastly, Vogler also talks about other movies like The Full Monty and Star Wars and how the stages are used within the movie to capture the audience’s attention.
Reaction:
Though this was a long section, this was the only section I really enjoyed because it talked about movies that I have seen the past. I thought sometimes Vogler dragged out some movies than others but the particular movies he did use in this sections helped me get a better look at the hero’s journey model. When Vogler was talking about post modernism and the description of it, I began to a clearer understanding of this era. I do like the movie Pulp Fiction and the way that Vogler talks about it and the stages within the movie. Overall, this section was enjoyable to read even it took awhile.
Questions:
What is another movie that pertains to post modernism?
Will a story still being interesting if there really isn’t a structure to the story?
What does it mean to “choose your metaphor?”
Professor Robinson
Analytical and Persuasive Writing
09 November 2008
Vogler, Christopher. “Epilogue: Looking Back On the Journey.” The Writer’s Journey:
Mythic Structure for Writers. 3rd Edition. Studio City, California: Michael Wiese Productions,
2007. 231-291.
Summary:
In this section, Vogler talks about how the hero’s journey is a guideline. Using these guidelines will help make a successful story. The writer can break any rules they want but still have an amazing story that touches the audience. Vogler talks about having certain functions within the story to captures the readers. Stories need themes, styles, tone, characters, and other elements to develop a strong and intriguing plot. Also he begins to talk about how the pattern can be metaphor for what is happening with the story. He gives examples like comparing a story to a baseball game. Vogler also gives advice by saying that when using to pattern, he or she is creating a basics of the story. He referenced using index cards to help form the structure or plot of the story. Now the Vogler has talked about the functions of the hero’s journey, he starts to give examples of the function through old and present movies. For instance, the movie Lion King appeared in this section talking about how the model was used. He goes through the movies and points out different stages of the pattern, like ordeal and special world. Vogler believes that Rafiki in the movie was represented as the mentor of the movie. He help guide Simba and prepared for his journey. Another movie that is talked about in this stage is Pulp Fiction which is a post modern movie. Vogler says that post modernism is a representation of social disruption, war, and rapid technological change. The audience recognizes this and enjoys watching a movie like Pulp Fiction. In this movie the audience can see how the characters compare themselves to another culture. Lastly, Vogler also talks about other movies like The Full Monty and Star Wars and how the stages are used within the movie to capture the audience’s attention.
Reaction:
Though this was a long section, this was the only section I really enjoyed because it talked about movies that I have seen the past. I thought sometimes Vogler dragged out some movies than others but the particular movies he did use in this sections helped me get a better look at the hero’s journey model. When Vogler was talking about post modernism and the description of it, I began to a clearer understanding of this era. I do like the movie Pulp Fiction and the way that Vogler talks about it and the stages within the movie. Overall, this section was enjoyable to read even it took awhile.
Questions:
What is another movie that pertains to post modernism?
Will a story still being interesting if there really isn’t a structure to the story?
What does it mean to “choose your metaphor?”
Monday, November 3, 2008
Anti bib 9
Jasmine Soule’
Professor Robinson
Analytical and Persuasive Writing
03 November 2008
Vogler, Christopher. “The Resurrection” “Return with the Elixir.” The Writer’s Journey: Mythic
Structure for Writers. 3rd Edition. Studio City, California:
Michael Wiese Productions, 2007. 197-228.
Summary:
The next stage in Vogler’s book is stage 7, The Resurrection; this is where the hero experiences death and rebirth again. Vogler also talks about the hero changing their personalities. This new change should recapture the best part about their old selves and also what they have learned. Another function of The Resurrection is the cleansing of the hero. This is where the hero tries to lose the smell of death. Vogler goes on talking about the two great ordeals. This is the last test for the hero; a hero can go through a physical ordeal. Also this stage is where readers need proof that this part of the story is the resurrection stage. A hero must also sacrifice something he or she believes in the “Resurrection Stage.” Finally, in this stage the hero must show an ultimate change in their lives. Their old selves must be gone by this point. The next stage is “Return with the elixir,” this is where the hero brings back something to share with others when they return from their journey. There are numerous functions to this stage. For instance, the return part of the story must be a surprise or else it will be a flat and uneventful story. Also there is reward and punishment distributed at this point of the story. The punishment is seen as poetic justice. The hero sometimes gets what he or she deserves. Furthermore, the elixir is sometimes used in a metaphoric and physical way. The elixir can be seen as medicine for the hero, so he or she can bring it back to the community. There are different types of elixirs, there are elixirs for love or it could change the world, or it also can give responsibility and strength to the hero at the return stage. Lastly, Vogler talks about the return stage sometimes having numerous ending or sometimes abruptly ending.
Reaction:
I really enjoyed reading about these two different stages but I did have a difficult time understanding some parts of it. For instance I didn’t understand what Vogler was talking about “catharsis.” I had a hard time following that but I think it was interesting about the different climaxes. I also enjoyed reading about the different choices that pertained to the hero. Overall, these two sections helped me identify movies with what Vogler was talking about.
Questions:
1) Does the story always need a climax?
2) What happens if the hero does not change from the “Resurrection Stage?
3) What exactly was Vogler talking about with denouement? Can you give an example that uses this term?
Professor Robinson
Analytical and Persuasive Writing
03 November 2008
Vogler, Christopher. “The Resurrection” “Return with the Elixir.” The Writer’s Journey: Mythic
Structure for Writers. 3rd Edition. Studio City, California:
Michael Wiese Productions, 2007. 197-228.
Summary:
The next stage in Vogler’s book is stage 7, The Resurrection; this is where the hero experiences death and rebirth again. Vogler also talks about the hero changing their personalities. This new change should recapture the best part about their old selves and also what they have learned. Another function of The Resurrection is the cleansing of the hero. This is where the hero tries to lose the smell of death. Vogler goes on talking about the two great ordeals. This is the last test for the hero; a hero can go through a physical ordeal. Also this stage is where readers need proof that this part of the story is the resurrection stage. A hero must also sacrifice something he or she believes in the “Resurrection Stage.” Finally, in this stage the hero must show an ultimate change in their lives. Their old selves must be gone by this point. The next stage is “Return with the elixir,” this is where the hero brings back something to share with others when they return from their journey. There are numerous functions to this stage. For instance, the return part of the story must be a surprise or else it will be a flat and uneventful story. Also there is reward and punishment distributed at this point of the story. The punishment is seen as poetic justice. The hero sometimes gets what he or she deserves. Furthermore, the elixir is sometimes used in a metaphoric and physical way. The elixir can be seen as medicine for the hero, so he or she can bring it back to the community. There are different types of elixirs, there are elixirs for love or it could change the world, or it also can give responsibility and strength to the hero at the return stage. Lastly, Vogler talks about the return stage sometimes having numerous ending or sometimes abruptly ending.
Reaction:
I really enjoyed reading about these two different stages but I did have a difficult time understanding some parts of it. For instance I didn’t understand what Vogler was talking about “catharsis.” I had a hard time following that but I think it was interesting about the different climaxes. I also enjoyed reading about the different choices that pertained to the hero. Overall, these two sections helped me identify movies with what Vogler was talking about.
Questions:
1) Does the story always need a climax?
2) What happens if the hero does not change from the “Resurrection Stage?
3) What exactly was Vogler talking about with denouement? Can you give an example that uses this term?
Sunday, November 2, 2008
Four Modes
Movie: Hotel Rwanda Song: War Child by Emmanuel Jal
Book: Not on Our Watch: The Mission to End Genocide in Darfur and Beyond
Ima
ge:Wednesday, October 29, 2008
The Bell Jar
In Plath story, The Bell Jar, the main hero Esther, goes through an ordeal throughout the story. This story uses different stages that Vogler talks about in his book. Readers first get a glimpse of the ordeal when it is revealed that she is in an asylum. Also Esther begins to contemplate about her virginity. However she decides to loose her virginity with a man she met, Irwin. The consequences of those actions was that she started to profusely bleed after having sex with Irwin. After receiving help she decides that she no longer wants to stay at the asylum. This is also could be seen as the possible "The Road Back" stage in Vogler's book. She also realizes that she is not as crazy as she use to think she was at one time. Esther now goes through another journey of going through the interview process of leaving the asylum. Overall, there is great representation of Vogler's stages in Plath, The Bell Jar.
Tuesday, October 28, 2008
Ant. Bib 8
Vogler, Christopher. “Reward,” “The Road Back.” The Writer’s Journey:
Mythic Structure for Writers. 3rd Edition. Studio City, California: Michael Wiese Productions,
2007. 175-194.
Summary:
In stage 9, Reward, after the ordeal or the problem is solved, the hero in often times receives a reward. This reward can be seen through different situations. For instance, through celebration of surviving death or the through a campfire scene where the hero and his friends reminisce about their challenges or perhaps through a love scene or the reward could be the object they were looking for in the first place. Vogler also talks about the hero “seizing the sword” which refers to the hero taking possession of the reward. In often stories there is a sword at the end of the battle that represents the hero’s will. Also Vogler talks about in some cases the hero steals an object called an elixir, which is often known a medicine. This is elixir can revive the hero or create new life. Another type of reward the hero can receive is being initiated into a society because of the great deed he or she did. This society can help in the hero and also give him secrets too. There are other types of rewards the hero can receive like: new perceptions, clairvoyance, seeing through deception, self realization and epiphany. Epiphany is when the hero realizes that he or she is divine. Unfortunately there could be side effects to receiving the reward. The hero may experience distortion of perception. This is where the hero’s ego might increase and his is perception of things might not be right all the time. The next stage, “The Road Back,” is when the hero has dealt with the ordeal, received the reward, and now has the choice to go back home or start a new adventure. The hero can re-motivate themselves to the adventure they once were on. Often in “The Road Back” stage the hero must retaliate against the villain or enemy in the story because the villain might attack again. There is often a chase scene within in this stage. This is where the hero might be running for his or her life. There are different types of chasing scenes, for instance villain escapes or pursuit by admirer or magical flight. Magical flight is the transformation of objects when in a chase. There are also setbacks in that hero might have to endure. His or hers luck might have been striving in the beginning but now the hero must face delays. However the hero must recognize the meaning of the journey and continue on.
Reaction:
I thought Vogler had a fascinating explanation on the two different stages. I really liked when he was talking about the different rewards the hero can receive in the story. However I didn’t exactly understand the seizing the sword section. I thought it was intriguing to read about the variety of chase scenes a hero can have in a story. When Vogler talks about magical flight I had a hard time understanding what he was talking about.
Questions:
1) What are some other rewards that a hero can receive other than the one’s Vogler talked about?
2) Would the story be boring if the hero did not have a chase scene?
3) Name a movie that coincides with Vogler’s explanation about the Magical Flight?
Mythic Structure for Writers. 3rd Edition. Studio City, California: Michael Wiese Productions,
2007. 175-194.
Summary:
In stage 9, Reward, after the ordeal or the problem is solved, the hero in often times receives a reward. This reward can be seen through different situations. For instance, through celebration of surviving death or the through a campfire scene where the hero and his friends reminisce about their challenges or perhaps through a love scene or the reward could be the object they were looking for in the first place. Vogler also talks about the hero “seizing the sword” which refers to the hero taking possession of the reward. In often stories there is a sword at the end of the battle that represents the hero’s will. Also Vogler talks about in some cases the hero steals an object called an elixir, which is often known a medicine. This is elixir can revive the hero or create new life. Another type of reward the hero can receive is being initiated into a society because of the great deed he or she did. This society can help in the hero and also give him secrets too. There are other types of rewards the hero can receive like: new perceptions, clairvoyance, seeing through deception, self realization and epiphany. Epiphany is when the hero realizes that he or she is divine. Unfortunately there could be side effects to receiving the reward. The hero may experience distortion of perception. This is where the hero’s ego might increase and his is perception of things might not be right all the time. The next stage, “The Road Back,” is when the hero has dealt with the ordeal, received the reward, and now has the choice to go back home or start a new adventure. The hero can re-motivate themselves to the adventure they once were on. Often in “The Road Back” stage the hero must retaliate against the villain or enemy in the story because the villain might attack again. There is often a chase scene within in this stage. This is where the hero might be running for his or her life. There are different types of chasing scenes, for instance villain escapes or pursuit by admirer or magical flight. Magical flight is the transformation of objects when in a chase. There are also setbacks in that hero might have to endure. His or hers luck might have been striving in the beginning but now the hero must face delays. However the hero must recognize the meaning of the journey and continue on.
Reaction:
I thought Vogler had a fascinating explanation on the two different stages. I really liked when he was talking about the different rewards the hero can receive in the story. However I didn’t exactly understand the seizing the sword section. I thought it was intriguing to read about the variety of chase scenes a hero can have in a story. When Vogler talks about magical flight I had a hard time understanding what he was talking about.
Questions:
1) What are some other rewards that a hero can receive other than the one’s Vogler talked about?
2) Would the story be boring if the hero did not have a chase scene?
3) Name a movie that coincides with Vogler’s explanation about the Magical Flight?
Monday, October 20, 2008
Peer Review
Strengths:
My topic is interesting and also I have good examples to support my observations about what is happening in Darfur. Also my peers talked about how it was good to explain what caused the genocide to occur.
Weaknesses:
They thought I might want to talk about what exactly is the U.N. Also I should talk about why it is so hard to keep peace in Darfur. I should also try to relate it on a personal level and not have too many facts. Someone also brought up the question of "What is the UN suppose to do?"
My topic is interesting and also I have good examples to support my observations about what is happening in Darfur. Also my peers talked about how it was good to explain what caused the genocide to occur.
Weaknesses:
They thought I might want to talk about what exactly is the U.N. Also I should talk about why it is so hard to keep peace in Darfur. I should also try to relate it on a personal level and not have too many facts. Someone also brought up the question of "What is the UN suppose to do?"
Anti Bib 7
Jasmine Soule’
Professor Robinson
Analytical and Persuasive Writing
19 October 2008
Vogler, Christopher. “Approach to the Inner Most Cave” “The Ordeal” The Writer’s Journey:
Mythic Structure for Writers. 3rd Edition. Studio City, California: Michael Wiese Productions,
2007. 143-173.
Summary:
In stage seven, Vogler talks about the “Approach to the Inner Most Cave.” This approach helps the hero makes plans and get to know his or hers enemy. The courtship can be seen through a romance with the hero and he or she love interest. There are different types of approaches the hero can take like, the bold approach, which is when the hero boldly takes actions. The hero must prepare for the ordeal by gathering information and arming themselves. The hero must be aware of the numerous obstacles he or she will have to go through before the ordeal and also not be blinded by the illusions. Vogler continues to talk about the how the hero must be prepared for another threshold and special world. When sometimes approaching the new threshold guardian, the hero might use his or her emotions to break down the force. A hero might sometimes have a warning to for warn them of obstacles. Within the approach stage the hero will go through more complications which might possible higher the stakes for the hero. In some cases the hero might receive an impossible test, this test is trying to tempt the hero into going into the foreign territory known as the “Shamanic Territory. The hero must now reorganize themselves, and recognize why them have come to this ordeal. Vogler says that the hero must get into the opponent’s mind, which will defeat them. After doing this, a breakthrough has occurred for the hero and the hero is ready to take action. The next stage Vogler talks about is “The Ordeal.” A hero must go through death and rebirth and from there the hero has changed in some way. In the story, the ordeal is considered to be a crisis not a climax, and it is important to place the ordeal in a certain spot in the story to draw the audience in. In the story there must be points of tension. Lastly, throughout the story the hero deals with emotions, death, and love.
Reaction:
I thought this was an interesting two sections. I really liked reading about “ Ariadne’s Thread” which is a symbol of love, where it brings to people into a relationship. I also like reading about everything the hero must go through before go through the ordeal. For instance, Vogler was talking about the hero gathering information, so the hero can use for the ordeal. He also talks about realizing who the hero at this point of the stage is. The Ordeal Stage was very interesting to read about and how the hero must witness death.
Questions:
1) Can a hero not have all of his information about the enemy and still be successful in his approach to the ordeal?
2) Are there any movies that show when love kills?
3) What is a good example of the ‘Ariandne’s Thread?”
Professor Robinson
Analytical and Persuasive Writing
19 October 2008
Vogler, Christopher. “Approach to the Inner Most Cave” “The Ordeal” The Writer’s Journey:
Mythic Structure for Writers. 3rd Edition. Studio City, California: Michael Wiese Productions,
2007. 143-173.
Summary:
In stage seven, Vogler talks about the “Approach to the Inner Most Cave.” This approach helps the hero makes plans and get to know his or hers enemy. The courtship can be seen through a romance with the hero and he or she love interest. There are different types of approaches the hero can take like, the bold approach, which is when the hero boldly takes actions. The hero must prepare for the ordeal by gathering information and arming themselves. The hero must be aware of the numerous obstacles he or she will have to go through before the ordeal and also not be blinded by the illusions. Vogler continues to talk about the how the hero must be prepared for another threshold and special world. When sometimes approaching the new threshold guardian, the hero might use his or her emotions to break down the force. A hero might sometimes have a warning to for warn them of obstacles. Within the approach stage the hero will go through more complications which might possible higher the stakes for the hero. In some cases the hero might receive an impossible test, this test is trying to tempt the hero into going into the foreign territory known as the “Shamanic Territory. The hero must now reorganize themselves, and recognize why them have come to this ordeal. Vogler says that the hero must get into the opponent’s mind, which will defeat them. After doing this, a breakthrough has occurred for the hero and the hero is ready to take action. The next stage Vogler talks about is “The Ordeal.” A hero must go through death and rebirth and from there the hero has changed in some way. In the story, the ordeal is considered to be a crisis not a climax, and it is important to place the ordeal in a certain spot in the story to draw the audience in. In the story there must be points of tension. Lastly, throughout the story the hero deals with emotions, death, and love.
Reaction:
I thought this was an interesting two sections. I really liked reading about “ Ariadne’s Thread” which is a symbol of love, where it brings to people into a relationship. I also like reading about everything the hero must go through before go through the ordeal. For instance, Vogler was talking about the hero gathering information, so the hero can use for the ordeal. He also talks about realizing who the hero at this point of the stage is. The Ordeal Stage was very interesting to read about and how the hero must witness death.
Questions:
1) Can a hero not have all of his information about the enemy and still be successful in his approach to the ordeal?
2) Are there any movies that show when love kills?
3) What is a good example of the ‘Ariandne’s Thread?”
Sunday, October 12, 2008
Sunday, October 5, 2008
Vogler Bib
Jasmine Soule’
Professor Robinson
Analyrical and Persuasive Writing
04 October 2008
Vogler, Christopher. “Refusal of Call” “Meeting with the Mentor” The Writer’s Journey:
Mythic Structure for Writers. 3rd Edition. Studio City, California: Michael Wiese Productions,
2007. 107-125.
Summary:
Once the hero’s has realized the call to adventure, sometimes he or she is hesitant to actually go through with the journey. The hero may sometimes first avoid the call because she or he claims that they have already been through that journey. However, this reluctance draws the audience even closer to the story. Vogler continues to say that, he or she may bring up excuses on why they are unwilling to accept the call to adventure. There are other types of refusal like: “Persistent Refusal Leads to Tragedy”, “Conflicting Calls”, and “Positive Refusals”. Another positive refusal is “Artist as Heroes”, this is when the hero invokes him or her artistic expression and refuses the power of the call to the world. On the flip side, there are “Willing Heroes” which are heroes that accept and are eager for the journey. Other characters like the “Threshold Guardian” might bring into play fear and consequences but the hero will still go through with the journey. Moreover in every story, “The Secret Door” comes into play, this is when a hero violates a set of rules that the mentor gave to he or she. Stage four is where Vogler talks about “Meeting with the Mentor.” The mentor is there for the hero to guide, give knowledge and confidence to the hero, they help the hero along the journey. Mentors can be seen as a “Source of Wisdom” and a “Chiron: A Prototype” a “Critical Influence” and in “Folklore Myths.” Stories often try to avoid “Mentor Clichés” by making the mentor fresh and surprising. Mentors can often lead the hero in the dangerous adventure or in harms ways; this is called “Misdirection.” The mentor and hero relationship can be a positive or negative relationship. The mentor could possible turn against the hero. When all is said and done once the story is built, there is no need for the mentor presence anymore. Lastly, his or her job is done and can go on their way.
Reaction:
These two sections are very interesting because I didn’t know there were so many different types of “Refusal of Call” or that there could be positive refusal. I did realize that having the refusal of the call does bring the audience closer to the story. Having the refusal of the call makes the audience want the hero ever more to pursue the journey. The next section talked about the importance of the mentor. Finally, I like that Vogler talked about the origin of the mentor and how it came from The Odyssey.
Questions:
1) Would a story not be interesting if the story didn’t have a “Refusal of the Call?”
2) What exactly is the artist as a hero? How do you see that in a recent movie?
3) How can you avoid mentor clichés without taking away from the meaning of a mentor?
Professor Robinson
Analyrical and Persuasive Writing
04 October 2008
Vogler, Christopher. “Refusal of Call” “Meeting with the Mentor” The Writer’s Journey:
Mythic Structure for Writers. 3rd Edition. Studio City, California: Michael Wiese Productions,
2007. 107-125.
Summary:
Once the hero’s has realized the call to adventure, sometimes he or she is hesitant to actually go through with the journey. The hero may sometimes first avoid the call because she or he claims that they have already been through that journey. However, this reluctance draws the audience even closer to the story. Vogler continues to say that, he or she may bring up excuses on why they are unwilling to accept the call to adventure. There are other types of refusal like: “Persistent Refusal Leads to Tragedy”, “Conflicting Calls”, and “Positive Refusals”. Another positive refusal is “Artist as Heroes”, this is when the hero invokes him or her artistic expression and refuses the power of the call to the world. On the flip side, there are “Willing Heroes” which are heroes that accept and are eager for the journey. Other characters like the “Threshold Guardian” might bring into play fear and consequences but the hero will still go through with the journey. Moreover in every story, “The Secret Door” comes into play, this is when a hero violates a set of rules that the mentor gave to he or she. Stage four is where Vogler talks about “Meeting with the Mentor.” The mentor is there for the hero to guide, give knowledge and confidence to the hero, they help the hero along the journey. Mentors can be seen as a “Source of Wisdom” and a “Chiron: A Prototype” a “Critical Influence” and in “Folklore Myths.” Stories often try to avoid “Mentor Clichés” by making the mentor fresh and surprising. Mentors can often lead the hero in the dangerous adventure or in harms ways; this is called “Misdirection.” The mentor and hero relationship can be a positive or negative relationship. The mentor could possible turn against the hero. When all is said and done once the story is built, there is no need for the mentor presence anymore. Lastly, his or her job is done and can go on their way.
Reaction:
These two sections are very interesting because I didn’t know there were so many different types of “Refusal of Call” or that there could be positive refusal. I did realize that having the refusal of the call does bring the audience closer to the story. Having the refusal of the call makes the audience want the hero ever more to pursue the journey. The next section talked about the importance of the mentor. Finally, I like that Vogler talked about the origin of the mentor and how it came from The Odyssey.
Questions:
1) Would a story not be interesting if the story didn’t have a “Refusal of the Call?”
2) What exactly is the artist as a hero? How do you see that in a recent movie?
3) How can you avoid mentor clichés without taking away from the meaning of a mentor?
Friday, October 3, 2008
Revision Plan
Edit: I need to use the fanboy system in some of my sentences. Also elaborate more on what is "it" or thing". Finally, I need to make sure the readers know I am talking to them.
Revise: I need to use some transitions in some of my paragraphs to connect them. I should talks more about some of my stories in my memoir. I still need to find the "So what?" I need show what I have I learned from this whole journey.
Revise: I need to use some transitions in some of my paragraphs to connect them. I should talks more about some of my stories in my memoir. I still need to find the "So what?" I need show what I have I learned from this whole journey.
Sunday, September 28, 2008
Ethos, Pathos and Logos
Songs:
Logos: I Can- Nas
This is an example of ethos because this is the artist personal opinion about the war and human life.
Logos: I Can- Nas
Ethos: Fix you- Coldplay
Pathos: Love Me, Love Me- The Cardigans
This is an example of Logos because every knows that it represents peace.
This is an example of ethos because this is the artist personal opinion about the war and human life.
This is an example of pathos because it evokes emotion about what is happening in Darfur.
Anti Bib 4
Vogler, Christopher. “The Ordinary World” “The Call to Adventure” The Writer’s Journey:
Mythic Structure for Writers. 3rd Edition. Studio City, California: Michael Wiese Productions,
2007. 83-105.
Summary:
In the beginning of the section, Vogler talks about the importance of the title. The title can sometimes be a metaphor that expresses the tone of the story. Also opening images of a story can also set the mood or suggest what might happen in the story. Then there is the “prologue” where readers might find the background of the story or what might happen as the story goes on. They introduce may establish the villain of the story. “The Ordinary World” is where the audience last sees the hero before he or she goes off on the adventure. This world must be very different from the “Special World,” because the audience needs to see a vivid change. Foreshadowing can be seen in the Ordinary World by expressing a dilemma or a problem that is about to arise. The audience can get a small glimpse of the Special World through foreshadowing. Then there is the “Dramatic Question” that involves a piece of the story. This question could talk about the plot or the hero’s personality or other characters. Moreover, every hero needs an inner and outer problem. If the hero does not have an inner problem, then his character is seen as flat. These problems can be about the hero’s personal story or moral problems but he or she must solve this problem along the journey. Also the entrance of the hero plays in the important role in the story. The audience needs a buildup of the character so that they can connect with the hero. This is the opportunity to show the hero’s personality and everything about him or her. Another point Vogler talks about is “Identification,” which is when the hero and the audience are on the same page. This can happen by making the hero have a certain set of goals or desires that the audience might have for themselves. “The Hero’s Lack” is when the hero is lacking a certain quality that the audience wishes to see in the hero. “Tragic Flaw” is a feature that the hero has that leads him his downfall. “Wounded Heroes” is another point Vogler talks about, he says that the wound will never be seen but expressed in the story. This wound will humanize the hero in front of the audience. The “What’s at Stake” stage is when the audience starts to care about the hero because they know what he or she is after. The Backstory and Exposition” talks about the character past history therefore the readers will understand he or she more. The theme of the story is a statement about the whole story the audience gets to see. “The Call to Adventure” stage is the second stage in Vogler’s book that he talks about. This call gets the hero to start pursing his journey and also helps the story get going. Synchronicity, are accidents or twist of fate that calls the hero to he or she’s journey. Temptation for a potential partner is another way to get the hero to start his new journey. “Heralds of Change” is an additional example to provoke the hero on his or her journey. The herald can be good, bad or neutral in a story. When a villain or an enemy starts to ask about the hero in the story, this is called “Reconnaissance”. Lastly, Vogler goes on talking about how the hero might show discomfort from the journey or feel that he or she is lacking something in his or her life which causes the adventure.
Reaction:
I thought this section was very helpful in trying to understand a story. I never really thought about the meaning of title until I read that section. He also talked about the first images of a story can tell the audience a lot about what will happen in the story. This section broke down different parts of the story, showing the deeper meaning in everything. I realized that there is so much that goes into making a story captivating to the author’s audience.
Questions:
How can we relate these stages within our personal life?
Do we have a tragic flaw? If so, how can we identify the tragic flaw?
Why is the theme of the story such an important aspect in a story?
Mythic Structure for Writers. 3rd Edition. Studio City, California: Michael Wiese Productions,
2007. 83-105.
Summary:
In the beginning of the section, Vogler talks about the importance of the title. The title can sometimes be a metaphor that expresses the tone of the story. Also opening images of a story can also set the mood or suggest what might happen in the story. Then there is the “prologue” where readers might find the background of the story or what might happen as the story goes on. They introduce may establish the villain of the story. “The Ordinary World” is where the audience last sees the hero before he or she goes off on the adventure. This world must be very different from the “Special World,” because the audience needs to see a vivid change. Foreshadowing can be seen in the Ordinary World by expressing a dilemma or a problem that is about to arise. The audience can get a small glimpse of the Special World through foreshadowing. Then there is the “Dramatic Question” that involves a piece of the story. This question could talk about the plot or the hero’s personality or other characters. Moreover, every hero needs an inner and outer problem. If the hero does not have an inner problem, then his character is seen as flat. These problems can be about the hero’s personal story or moral problems but he or she must solve this problem along the journey. Also the entrance of the hero plays in the important role in the story. The audience needs a buildup of the character so that they can connect with the hero. This is the opportunity to show the hero’s personality and everything about him or her. Another point Vogler talks about is “Identification,” which is when the hero and the audience are on the same page. This can happen by making the hero have a certain set of goals or desires that the audience might have for themselves. “The Hero’s Lack” is when the hero is lacking a certain quality that the audience wishes to see in the hero. “Tragic Flaw” is a feature that the hero has that leads him his downfall. “Wounded Heroes” is another point Vogler talks about, he says that the wound will never be seen but expressed in the story. This wound will humanize the hero in front of the audience. The “What’s at Stake” stage is when the audience starts to care about the hero because they know what he or she is after. The Backstory and Exposition” talks about the character past history therefore the readers will understand he or she more. The theme of the story is a statement about the whole story the audience gets to see. “The Call to Adventure” stage is the second stage in Vogler’s book that he talks about. This call gets the hero to start pursing his journey and also helps the story get going. Synchronicity, are accidents or twist of fate that calls the hero to he or she’s journey. Temptation for a potential partner is another way to get the hero to start his new journey. “Heralds of Change” is an additional example to provoke the hero on his or her journey. The herald can be good, bad or neutral in a story. When a villain or an enemy starts to ask about the hero in the story, this is called “Reconnaissance”. Lastly, Vogler goes on talking about how the hero might show discomfort from the journey or feel that he or she is lacking something in his or her life which causes the adventure.
Reaction:
I thought this section was very helpful in trying to understand a story. I never really thought about the meaning of title until I read that section. He also talked about the first images of a story can tell the audience a lot about what will happen in the story. This section broke down different parts of the story, showing the deeper meaning in everything. I realized that there is so much that goes into making a story captivating to the author’s audience.
Questions:
How can we relate these stages within our personal life?
Do we have a tragic flaw? If so, how can we identify the tragic flaw?
Why is the theme of the story such an important aspect in a story?
Monday, September 22, 2008
Anti - Bib
Vogler, Christopher. “Threshold Guardian.” The Writer’s Journey: Mythic Structure for Writers.
Studio City, California: Michael Wiese Productions, 1998. 49-80.
Summary
In the “Threshold Guardian,” Vogler talks about how the hero goes through obstacles at these stages. The threshold guardian is not the villain in the story but someone smaller than that. By testing about the function, the hero has a couple options he or she can do. He or she can either retreat back or attack the threshold guardian head on or use deception. The most effective method to this problem is getting under the skin of the evil person. By doing this the hero is allowing his or her self to think like the guardian. The object is not to defeat the guardian but to integrate qualities into the hero, so that the hero will be more sympathetic. The next section talks about the significance of the “Herald” and how it brings change in the story. The herald can be either a person or a force in the story. Its function is to motivate the hero for the new adventure he or she is about to begin. There can be a negative herald in the story or a positive herald that helps the hero to its journey. This archetype can be seen at any time in a story. The next archetype is the “Shapeshifter,” this archetype can be seen as a romantic partner for the hero. They also can change mood and form in the story. The shapeshifter is there to express the animus and anima. These may be positive or negative forces that may help the hero along its adventure or try to destroy him or her. The Shapshifter is also a symbol for change in the inner hero. Their function is to bring doubt or suspense within the movie. The “Shadow” symbolizes the dark side of something. These qualities can be shown through a villain or an enemy. The function of the Shadow is to create conflict and challenge the hero. They also try to bring out the best in the hero. An Ally can help the hero with its journey or can be seen as a comic relief. They do not always have to be human in a story. Their function is to humanize the hero and add character in the story. Finally the Trickster reduces the big egos of the hero and help the hero relate to the audience. They also represent mischief and the desire for change. Most of the time in a drama, a Trickster is there for comic relief and to diminish the tension of a conflict.
Reaction
I thought this was an interesting section to read about. Even though in previous readings they mention these archetypes; I still didn’t know what the true functions of the archetypes were. One section that calls to my attention, is the Ally section; this sections explained how there are numerous types of Allies. An animal or a non human or a ghost from a grave could be an Ally in a story. I also thought it was interesting when Vogler was talking about the functions of the animus and anima. He talks about how these repressed qualities are shown through our friends and classmates.
Questions:
1) Can an Ally ever turn evil in a story?
2) What exactly are the functions of the animus and anima? How can we realize these functions in our own lives?
3) Where is there an example of the Herald being a neutral figure?
Studio City, California: Michael Wiese Productions, 1998. 49-80.
Summary
In the “Threshold Guardian,” Vogler talks about how the hero goes through obstacles at these stages. The threshold guardian is not the villain in the story but someone smaller than that. By testing about the function, the hero has a couple options he or she can do. He or she can either retreat back or attack the threshold guardian head on or use deception. The most effective method to this problem is getting under the skin of the evil person. By doing this the hero is allowing his or her self to think like the guardian. The object is not to defeat the guardian but to integrate qualities into the hero, so that the hero will be more sympathetic. The next section talks about the significance of the “Herald” and how it brings change in the story. The herald can be either a person or a force in the story. Its function is to motivate the hero for the new adventure he or she is about to begin. There can be a negative herald in the story or a positive herald that helps the hero to its journey. This archetype can be seen at any time in a story. The next archetype is the “Shapeshifter,” this archetype can be seen as a romantic partner for the hero. They also can change mood and form in the story. The shapeshifter is there to express the animus and anima. These may be positive or negative forces that may help the hero along its adventure or try to destroy him or her. The Shapshifter is also a symbol for change in the inner hero. Their function is to bring doubt or suspense within the movie. The “Shadow” symbolizes the dark side of something. These qualities can be shown through a villain or an enemy. The function of the Shadow is to create conflict and challenge the hero. They also try to bring out the best in the hero. An Ally can help the hero with its journey or can be seen as a comic relief. They do not always have to be human in a story. Their function is to humanize the hero and add character in the story. Finally the Trickster reduces the big egos of the hero and help the hero relate to the audience. They also represent mischief and the desire for change. Most of the time in a drama, a Trickster is there for comic relief and to diminish the tension of a conflict.
Reaction
I thought this was an interesting section to read about. Even though in previous readings they mention these archetypes; I still didn’t know what the true functions of the archetypes were. One section that calls to my attention, is the Ally section; this sections explained how there are numerous types of Allies. An animal or a non human or a ghost from a grave could be an Ally in a story. I also thought it was interesting when Vogler was talking about the functions of the animus and anima. He talks about how these repressed qualities are shown through our friends and classmates.
Questions:
1) Can an Ally ever turn evil in a story?
2) What exactly are the functions of the animus and anima? How can we realize these functions in our own lives?
3) Where is there an example of the Herald being a neutral figure?
Tuesday, September 2, 2008
What Character would I be?
If I had to choose a Disney character to be, I would choose Princess Jasmine from Aladdin. Even though we have the same name I would still choose her because she is a determined woman. She did not give up on her love because society did not agree with it. Though she is very wealthy she has no problem exploring outside of the palace, this is where met her true love Aladdin. They are from two very different backgrounds yet their love overcomes it. Princess Jasmine wants to change people's beliefs on marriage and culture. She wants change for her people and the city. She believes in uniting the people as one and overcome the class barrier that divides her and Aladdin. Her falling in love with someone different from her background is an example of her trying to overcome an obstacle. She believes in change.
I truly believe in helping others like Princess Jasmine does in the movie. I want to eliminate the barriers we have with different cultures and unite people from all around the world. Just as she does, I too want change in the world. I plan to major in International Relations and Global Affairs. I want to travel around the world and help others who are less unfortunate. Princess Jasmine never gives up in what she believes in and I truly admire that about her. I believe in diversity and exploring different and things and I think Princess Jasmine displays the same qualities. She is truly a good person in the movie.
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