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.
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