Kristy Roseberry 1
November 16, 2008
Professor Robinson
Vogler 231-290 Annotation 11
Citation:
Vogler, Christopher. “The Writer’s Journey”. “Stories Are Alive”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
Vogler states that the Hero’s Journey is an accurate map to become a writer, and better yet a human being. He states that the Hero’s Journey and the Writer’s Journey are the same. Vogler states that the Elixir in a story writer’s journey is a good story. He also states that writers have the potential to be healers for other people. Vogler compares writers and shamans and states that they both are prepared for their work by enduring terrible ordeals. Furthermore, Vogler states that when we write we travel to the worlds of our imagination.
Vogler goes on to talk about how stories have a healing power, in which they can help others deal with difficult emotional situations. He also states that stories have a survival value, they are metaphors, and that good stories show at least two journeys, an outer one and an inner one, also that stories are
Roseberry 2
orientation devices. Vogler states that stories are somehow alive and are responsive to human emotions and wishes. He states that stories have an agenda just like humans do. Vogler goes on to talk about the story of Rumplestiltskin and discusses the power of wishing. He states that wishing is an underlying principle of storytelling. Vogler states that the expression of a wish has the important function of orientation for the audience. He states that stories hear the wishes with intense emotion attached to it. Vogler states that often heroes wish for something that they want badly but the journey teaches them what they need. Vogler also states that the aim of good storytelling is to get the audience to wish along with the hero. A good story can do this by making the hero sympathetic and making the audience identify with the hero. Vogler also states that we have wishes for our villains also. Vogler also goes on to talk about the progression from wishing to willing. He states that just like wishing, the will must be managed. Vogler also states that there is a connection between needs and willing, which is that both evolve from the idea of wishing or wanting.
Reaction:
In this section, Vogler talks about the importance of the Hero’s Journey and why we should use the Hero’s Journey. Vogler also states that stories can have a healing power, which is true. Many people will watch movies or read books that they can relate to and which can help them get through a problem. People like to be able to relate to a story. I know for myself, I will watch certain
Roseberry 3
movies or shows that are relating to my mood at the time and what I am going through during my life. Reading Vogler’s Hero’s Journey has helped me to be able to analyze stories a lot better.
Questions:
1. What do you think the greatest importance of the Hero’s Journey is?
2. What do you think the elixir is for a story writer, do you agree with Vogler that it is a good story?
3. What is your favorite part of the Hero’s Journey or your favorite part in Vogler’s text?
Sunday, November 16, 2008
Friday, November 14, 2008
Reflection and Action
I have completed my rhetorical analyses, interview and volunteer work. I need to record my interview, which I did with my sister who has been a vegetarian for 14 years. I volunteer with Best Buddies. Both factory farming and best buddies present ideas of compassion and helping other people and animals. Overall, I think the experience has been good and has helped me gather helpful information to present my project to other people. I plan on doing a poster board to present my information. On the poster board, I am going to have facts on factory farming, have my four modes, present some quotes from my interview, and show how both factory farming and best buddies relates to having compassion for others.
Sunday, November 9, 2008
Annotation 10
Kristy Roseberry 1
November 9, 2008
Professor Robinson
Vogler 231-290 Annotation 10
Citation:
Vogler, Christopher. “Epilogue: Looking Back on the Journey”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
Vogler is now done explaining the Hero’s Journey and has moved on to express what you should use the Hero’s Journey for and how you should use it as a tool. Vogler states that the Hero’s Journey is a guideline and it does not have to follow exactly, rather that it is better if it does not and is creative. He states the greatest measure of a story’s success is the story’s lasting popularity and effect on the audience. Vogler states that the needs of the story are what dictate its structure. Furthermore, he states that the stages, terms, and ideas of the Hero’s Journey can be used as a design template for stories. Vogler also states that any element of the journey can be used at any point in the story. Vogler uses examples of several different films to demonstrate how the hero’s journey is used in different ways. Vogler uses the movies, Titanic, The Lion King, Pulp Fiction, Full Monty, and Star Wars to demonstrate the different ways a writer can use the Hero’s Journey.
Reaction:
Vogler’s book has been helpful in understanding and critiquing different types of movies, shows, and books. Although Vogler’s examples of movies, shows, and books that demonstrate the Hero’s Journey usually are interesting and helpful, Vogler’s many examples of the films that use the Hero’s Journey in different ways was quite boring. After one or two examples of different films it was hard to hold attention. In regards to the Hero’s Journey, I found the idea that the writer can use any element of the Hero’s Journey at any time was interesting and truthful. I agree with Vogler that a story is better if it does not follow every single event in the Hero’s Journey and if the story is creative.
Questions:
1.Do you agree with Vogler that you can use any element of the Hero’s Journey at any point in the story?
2.What do you think the greatest measure of a story’s success is?
3.Do you think that you should follow the Hero’s Journey exactly or is it okay to stray from it and be creative?
November 9, 2008
Professor Robinson
Vogler 231-290 Annotation 10
Citation:
Vogler, Christopher. “Epilogue: Looking Back on the Journey”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
Vogler is now done explaining the Hero’s Journey and has moved on to express what you should use the Hero’s Journey for and how you should use it as a tool. Vogler states that the Hero’s Journey is a guideline and it does not have to follow exactly, rather that it is better if it does not and is creative. He states the greatest measure of a story’s success is the story’s lasting popularity and effect on the audience. Vogler states that the needs of the story are what dictate its structure. Furthermore, he states that the stages, terms, and ideas of the Hero’s Journey can be used as a design template for stories. Vogler also states that any element of the journey can be used at any point in the story. Vogler uses examples of several different films to demonstrate how the hero’s journey is used in different ways. Vogler uses the movies, Titanic, The Lion King, Pulp Fiction, Full Monty, and Star Wars to demonstrate the different ways a writer can use the Hero’s Journey.
Reaction:
Vogler’s book has been helpful in understanding and critiquing different types of movies, shows, and books. Although Vogler’s examples of movies, shows, and books that demonstrate the Hero’s Journey usually are interesting and helpful, Vogler’s many examples of the films that use the Hero’s Journey in different ways was quite boring. After one or two examples of different films it was hard to hold attention. In regards to the Hero’s Journey, I found the idea that the writer can use any element of the Hero’s Journey at any time was interesting and truthful. I agree with Vogler that a story is better if it does not follow every single event in the Hero’s Journey and if the story is creative.
Questions:
1.Do you agree with Vogler that you can use any element of the Hero’s Journey at any point in the story?
2.What do you think the greatest measure of a story’s success is?
3.Do you think that you should follow the Hero’s Journey exactly or is it okay to stray from it and be creative?
Sunday, November 2, 2008
Annotated Bibliography 9
Kristy Roseberry 1
November 2, 2008
Professor Robinson
Vogler 197-228 Annotation 9
Citation:
Vogler, Christopher. “The Resurrection”. “Return with the Elixir”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
The Resurrection is the trickiest passages for the hero and the writer. The Resurrection is the climax and the last and most dangerous meeting with death. Vogler states that a new self must be created for the new world. The Resurrection functions as a cleansing of the heroes smell of death and helps retain the lesson of the ordeal. Vogler states that the Ordeal is like a midterm and the Resurrection is like a final exam. Furthermore, that heroes must be tested one more time to retain the learning from the Ordeal. The meeting with death in the Resurrection is a higher threat, and a threat to the world not just the hero. The stakes are higher for this meeting with death than in the past. Vogler states that the hero can have assistance in acting in the climax, but that it is best for the hero to be the one to perform the decisive action. The Resurrection is the biggest battle of the story and is the showdown. Usually, heroes survive this
Roseberry 2
confrontation with death and are Resurrected. Also, usually the villains die or are defeated, sometimes tragic heroes die. The tragic heroes are resurrected in the way that they live on in the memory of the people they gave their life for. A climatic choice that indicates whether or not the hero has truly learned the lesson of change is also a possibility of resurrection. The Resurrection as stated formerly usually represents the climax. Climax in Greek means “ladder”. There can also be a quiet climax, which gives sense that all conflicts have been harmoniously resolved, which usually occurs after the death of a loved one. Stories can also have more than one climax, or a series of rolling climaxes. Climaxes are supposed to provide a feeling of catharis, which means purging in Greek. But in English means a purifying emotional release. Catharis works best Vogler states through physical expression of emotions like laughter or crying. Laughter is the strongest catharis. A catharis is the logical climax of a hero’s character arc. The Resurrection is the hero’s final attempt to make major change in attitude or behavior. The Resurrection can also be a potential misstep for the returning hero. The misstep does not have to be a physical event, but can be a moral or emotional misstep. In fairy tales, there is often a false claimant. Vogler states it is also important to provide proof in the Resurrection stage. Resurrection often calls for a sacrifice from the hero, which in Latin means “making holy”. The Resurrection stage is where the hero can show that they have absorbed and incorporated the lessons of the journey. The Resurrection is important to show an outward sign that the hero has changed.
Roseberry 3
The Return with the Elixir is when the hero returns from the Special World and brings something to share with others in the Ordinary World. Returning with the Elixir is using the lessons learned from the adventure. The Return is also called “denouement” which means untying in French. The two approaches to ending the hero’s journey are circular and open-ended. In the circular ending there is a sense of closure and completion and in the open-ended approach there is a sense of unanswered questions. The most popular design is the circular in which the story returns to the starting point, which allows a chance for comparison for the audience. In the open-ended approach the storytelling goes on after the story has ended. A good Return should have some surprise. The Return should have a twist. The Return is where final rewards and punishments are handed out. The elixir can be literal or metaphoric. Love is one of the most powerful elixirs. The elixir changes not only the hero but also the rest of the world. Another common elixir is wider responsibility. When heroes die tragically the audience learns from the heroes mistakes. An epilogue can also complete a story by projecting ahead to some future time to show how the characters turn out. The Return can be abrupt, prolonged, unfocused, unsurprising, or unsatisfying causing pitfalls of the Return. The final function of the Return should be to conclude the story decisively.
Reaction:
Roseberry 4
At the point of the Resurrection and the Return with the Elixir the hero’s journey is coming to an end. The hero is showing and incorporating into their lives everything that they have learned from the journey. The hero is also sharing the lessons they have learned with others. The hero is also showing the changes they have gone through since they left the Ordinary World. The Resurrection and the Return with the Elixir are both important steps in the hero’s journey. As usual, Vogler does a good job describing these stages of the hero’s journey.
Questions:
1. Is it necessary in a story to have a Resurrection?
2. Why does there need to be another Climax after the Ordeal?
3.Is it necessary for the hero to incorporate everything they have learned from the journey into their lives and share it with others?
November 2, 2008
Professor Robinson
Vogler 197-228 Annotation 9
Citation:
Vogler, Christopher. “The Resurrection”. “Return with the Elixir”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
The Resurrection is the trickiest passages for the hero and the writer. The Resurrection is the climax and the last and most dangerous meeting with death. Vogler states that a new self must be created for the new world. The Resurrection functions as a cleansing of the heroes smell of death and helps retain the lesson of the ordeal. Vogler states that the Ordeal is like a midterm and the Resurrection is like a final exam. Furthermore, that heroes must be tested one more time to retain the learning from the Ordeal. The meeting with death in the Resurrection is a higher threat, and a threat to the world not just the hero. The stakes are higher for this meeting with death than in the past. Vogler states that the hero can have assistance in acting in the climax, but that it is best for the hero to be the one to perform the decisive action. The Resurrection is the biggest battle of the story and is the showdown. Usually, heroes survive this
Roseberry 2
confrontation with death and are Resurrected. Also, usually the villains die or are defeated, sometimes tragic heroes die. The tragic heroes are resurrected in the way that they live on in the memory of the people they gave their life for. A climatic choice that indicates whether or not the hero has truly learned the lesson of change is also a possibility of resurrection. The Resurrection as stated formerly usually represents the climax. Climax in Greek means “ladder”. There can also be a quiet climax, which gives sense that all conflicts have been harmoniously resolved, which usually occurs after the death of a loved one. Stories can also have more than one climax, or a series of rolling climaxes. Climaxes are supposed to provide a feeling of catharis, which means purging in Greek. But in English means a purifying emotional release. Catharis works best Vogler states through physical expression of emotions like laughter or crying. Laughter is the strongest catharis. A catharis is the logical climax of a hero’s character arc. The Resurrection is the hero’s final attempt to make major change in attitude or behavior. The Resurrection can also be a potential misstep for the returning hero. The misstep does not have to be a physical event, but can be a moral or emotional misstep. In fairy tales, there is often a false claimant. Vogler states it is also important to provide proof in the Resurrection stage. Resurrection often calls for a sacrifice from the hero, which in Latin means “making holy”. The Resurrection stage is where the hero can show that they have absorbed and incorporated the lessons of the journey. The Resurrection is important to show an outward sign that the hero has changed.
Roseberry 3
The Return with the Elixir is when the hero returns from the Special World and brings something to share with others in the Ordinary World. Returning with the Elixir is using the lessons learned from the adventure. The Return is also called “denouement” which means untying in French. The two approaches to ending the hero’s journey are circular and open-ended. In the circular ending there is a sense of closure and completion and in the open-ended approach there is a sense of unanswered questions. The most popular design is the circular in which the story returns to the starting point, which allows a chance for comparison for the audience. In the open-ended approach the storytelling goes on after the story has ended. A good Return should have some surprise. The Return should have a twist. The Return is where final rewards and punishments are handed out. The elixir can be literal or metaphoric. Love is one of the most powerful elixirs. The elixir changes not only the hero but also the rest of the world. Another common elixir is wider responsibility. When heroes die tragically the audience learns from the heroes mistakes. An epilogue can also complete a story by projecting ahead to some future time to show how the characters turn out. The Return can be abrupt, prolonged, unfocused, unsurprising, or unsatisfying causing pitfalls of the Return. The final function of the Return should be to conclude the story decisively.
Reaction:
Roseberry 4
At the point of the Resurrection and the Return with the Elixir the hero’s journey is coming to an end. The hero is showing and incorporating into their lives everything that they have learned from the journey. The hero is also sharing the lessons they have learned with others. The hero is also showing the changes they have gone through since they left the Ordinary World. The Resurrection and the Return with the Elixir are both important steps in the hero’s journey. As usual, Vogler does a good job describing these stages of the hero’s journey.
Questions:
1. Is it necessary in a story to have a Resurrection?
2. Why does there need to be another Climax after the Ordeal?
3.Is it necessary for the hero to incorporate everything they have learned from the journey into their lives and share it with others?
Four Modes
1. Book-The Jungle by Upton Sinclair
Sinclair, Upton. The Jungle. Pocket, 2004.
The Jungle written by Upton Sinclair is effective in showing the horrible working conditions of the meat-packing industry. My research paper is on the horrible conditions of factory farming and how it harms not only animals, but humans and the environment also. Thus, The Jungle shows how factory farming is harmful to humans also, by showing the horrible working conditions of the employees. The Jungle also expresses the concepts of harm to animals, people, and the environment. The purpose of the book is to show and hopefully change the working conditions of the meat packing industry and slaughterhouses. The Jungle encompasses the ideas of ethos, pathos and logos. The Jungle encompasses the idea of ethos because it shows that working conditions for people should be valuable to everyone, and thus employers should provide their employees with decent working conditions. The Jungle encompasses the idea of pathos because it appeals to the emotion of compassion, and shows that to make workers work in bad working conditions is immoral. The Jungle encompasses the idea of logos because it shows if you provide decent working conditions for employees they will be happy. The book would appeal to people interested in the cruelty of the meat-packing industry or factory farming. Overall, the book is effective in getting the point of the cruelty and horrible working conditions of the meat-packing industry.
2. Song-Factory Farm Music video-Truth on Earth
http://www.youtube.com/watch?v=QOothmIqu7A
The song "Factory Farm Music Video" by Truth on Earth is very informative and appealing to people who are interested in the conditions of factory farming and care about the well-being of animals, the earth and other people. By using a song, I will be able to appeal to people who want a different way of receiving the information on factory farming other than reading or talking. My research paper was on factory farming, thus there is a direct link between my paper and the song by Truth on Earth. The song "Factory Farm Music Video" encompasses ethos, pathos, and logos in several ways. Ethos is present in the song "Factory Farm Music Video" because it shows that factory farming is immoral and more people should be aware of this problem. "The Factory Farm Music Video" appeals to pathos and the emotions because it makes one feel bad about buying meat that is factory farmed. "The Factory Farm Music Video" presents the idea of logos because it shows if you do not factory farm the world will be a better place and animals will be treated better.
Truth On Earth. Factory Farm Music Video. youtube.com, 2008.
3.Film-The Meatrix
http://www.youtube.com/watch?v=IMOAaciER6o
The film "The Meatrix" which was found on youtube.com is very effective because the movie shows animals talking about factory farming, thus appealing to people who care about animals. My research paper is on factory farming and compassion and "The Meatrix" is directly connected to my paper by discussing factory farming and showing how factory farming is wrong. "The Meatrix" is a pun on The Matrix which also makes the movie interesting to watch. The film "The Meatrix" has several examples of ethos, pathos, and logos. "The Meatrix" shows ethos because it shows that factory farming is immoral and people should not factory farm. "The Meatrix" shows pathos because it appeals to emotions because the film uses cartoon animals to get the cruelty of factory farming across. "The Meatrix" shows logos because it shows that if you eliminate factory farming animals will be happier and the earth would be a better place. Clearly, I would say that "The Meatrix" does a good job at getting the point across and would be beneficial for an audience to watch.
Media That Matters. The Meatrix. youtube.com, 2007.
4.Visual Piece-
The photo I used of all the cows crammed together in a pen is very effective because the photo shows the intense and horrible living conditions of factory farming. The visual piece used gets the authors point across and also gets the point of my research paper across. The photo definitely appeals to emotion and pathos and the concept of compassion because no animal or human should have to live in conditions that are witnessed in the photo presented. Overall, the photo is very effective and makes an individual not want to support factory farming.
Untitled. 2008. Wichita Eagle Editorial Department, Wichita, Kansas.
Monday, October 27, 2008
The Bell Jar Paragraph
In the Bell Jar written by Sylvia Plath there are several main events that occur in Chapters 19 and 20. Plath presents two main characters, Esther and Joan who are both in an asylum. Esther meets a man named Irwin and has coffee with him and decides to go back to his apartment. Esther has dwelled on her virginity for five years and eagerly gives her virginity to Irwin. Esther begins to bleed and Irwin tells her that sometimes it hurts and sometimes ladies bleed, but Esther does not think that this bleeding is normal. Esther has Irwin bring her to Joan's place, and Joan brings Esther to the hospital. When Esther arrives back at the asylum, the Doctor's are looking for Joan and can not find her. Later Joan is found, but she is dead. Joan had hung herself and was found by some elderly people. Later the audience finds out that both Esther and Joan had dated the same guy named Buddy. Clearly, there are several exciting events in Chapters 19 and 20 of the Bell Jar by Sylvia Plath.
Annotated Bibliography 8
Kristy Roseberry 1
October 27, 2008
Analytic and Persuasive Writing
Annotated Bibliography 8 175-194
Citation:
Vogler, Christopher. “Reward”. “The Road Back”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
The Reward is where the hero faces the consequences of surviving death. Vogler also states there will almost always be a period where the hero is recognized or rewarded for surviving death. Heroes will also celebrate having survived death, and Vogler states this time is also given for rest, recuperation, and refueling. A campfire scene is common for the celebration 0 refueling. A campfire scene is common for the celebration. Campfires are good for the hero and companions to gather and joke and also can be a time of reminiscing. Campfire scenes are also important for the audience to catch their breath after the ordeal and we are able to get to know the characters better. A love scene can also be the aftermath of an Ordeal. The Reward is also when the hero takes possession of what they have been seeking. Vogler also refers to this time as
Roseberry 2
“Seeking the Sword” because often the hero has to take possession of whatever they are seeking aggressively. The heroes may not always be given the elixir sometimes they might have to steal it, which is also known as the “elixir theft” Vogler states that elixir is the medium for medicine. The elixir most heroes seek is the ability to overcome the forces of death. Vogler states that the heroes that emerge from the Ordeal are recognized as special since they outwitted death. Heroes are often also granted new powers and perceptions from surviving death. The hero may seize new knowledge. The hero may also see through deception in this stage, such as seeing someone for who they really are. Also, Seizing the Sword can be a moment of clarity. Heroes may also experience a high level of self-realization and see who they are. Other people may see the hero more clearly also. Vogler states they may have an epiphany. Heroes can also experience an epiphany, and realize they are a sacred and divine being. A hero may also experience distorted perceptions after a conquest of death, and heroes may experience an inflation of the ego.
The Road Back is when the heroes have to face a choice of whether to stay in the Special World or go back to the Ordinary World. Few heroes choose to stay in the Special World. This is the stage when the hero resolves to return to the Ordinary World and implement the lessons they have learned. Heroes are often motivated to take the Road Back when the forces they defied in the Ordeal strike back at them. Villains or Shadows who are not completely defeated rise up stronger than before. At this stage an avenging force may also strike a costly
Roseberry 3
blow to the hero’s fortunes, wounding him or killing him. Heroes usually leave the Special World because they are running for their lives. Vogler states that chases are useful for revving up a stories energy. The chase in a fairy tale is often known as a magic flight. Vogler also states that what the hero throws down in the chase may represent a sacrifice, leaving something of value. Heroes are usually chased by villains.
Reaction:
The Reward and the Road Back seem to represent the hero’s journey coming to an end. Everything that has occurred throughout the story has built up and now everything is on its way back down from the excitement and the Ordeal. Both of the stages represent the struggles the hero has gone through and overcome. The Reward and the Road Back are both important for the hero’s journey and their hard work paying off. The Reward is not only rewarding for the hero, but also for the audience because they get to see the hero rewarded for all that they have done. Like usual, Vogler does a good job at describing and giving examples for these stages.
Questions:
1. In your memoir, would you say that you decided to stay in the Special World or return to the Ordinary World? Why?
2.What do you think is more important for the hero, the Reward or the Road Back?
Roseberry 4
3.Is it necessary to have a Reward stage, or can the hero complete their journey without being rewarded for their hard work?
October 27, 2008
Analytic and Persuasive Writing
Annotated Bibliography 8 175-194
Citation:
Vogler, Christopher. “Reward”. “The Road Back”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
The Reward is where the hero faces the consequences of surviving death. Vogler also states there will almost always be a period where the hero is recognized or rewarded for surviving death. Heroes will also celebrate having survived death, and Vogler states this time is also given for rest, recuperation, and refueling. A campfire scene is common for the celebration 0 refueling. A campfire scene is common for the celebration. Campfires are good for the hero and companions to gather and joke and also can be a time of reminiscing. Campfire scenes are also important for the audience to catch their breath after the ordeal and we are able to get to know the characters better. A love scene can also be the aftermath of an Ordeal. The Reward is also when the hero takes possession of what they have been seeking. Vogler also refers to this time as
Roseberry 2
“Seeking the Sword” because often the hero has to take possession of whatever they are seeking aggressively. The heroes may not always be given the elixir sometimes they might have to steal it, which is also known as the “elixir theft” Vogler states that elixir is the medium for medicine. The elixir most heroes seek is the ability to overcome the forces of death. Vogler states that the heroes that emerge from the Ordeal are recognized as special since they outwitted death. Heroes are often also granted new powers and perceptions from surviving death. The hero may seize new knowledge. The hero may also see through deception in this stage, such as seeing someone for who they really are. Also, Seizing the Sword can be a moment of clarity. Heroes may also experience a high level of self-realization and see who they are. Other people may see the hero more clearly also. Vogler states they may have an epiphany. Heroes can also experience an epiphany, and realize they are a sacred and divine being. A hero may also experience distorted perceptions after a conquest of death, and heroes may experience an inflation of the ego.
The Road Back is when the heroes have to face a choice of whether to stay in the Special World or go back to the Ordinary World. Few heroes choose to stay in the Special World. This is the stage when the hero resolves to return to the Ordinary World and implement the lessons they have learned. Heroes are often motivated to take the Road Back when the forces they defied in the Ordeal strike back at them. Villains or Shadows who are not completely defeated rise up stronger than before. At this stage an avenging force may also strike a costly
Roseberry 3
blow to the hero’s fortunes, wounding him or killing him. Heroes usually leave the Special World because they are running for their lives. Vogler states that chases are useful for revving up a stories energy. The chase in a fairy tale is often known as a magic flight. Vogler also states that what the hero throws down in the chase may represent a sacrifice, leaving something of value. Heroes are usually chased by villains.
Reaction:
The Reward and the Road Back seem to represent the hero’s journey coming to an end. Everything that has occurred throughout the story has built up and now everything is on its way back down from the excitement and the Ordeal. Both of the stages represent the struggles the hero has gone through and overcome. The Reward and the Road Back are both important for the hero’s journey and their hard work paying off. The Reward is not only rewarding for the hero, but also for the audience because they get to see the hero rewarded for all that they have done. Like usual, Vogler does a good job at describing and giving examples for these stages.
Questions:
1. In your memoir, would you say that you decided to stay in the Special World or return to the Ordinary World? Why?
2.What do you think is more important for the hero, the Reward or the Road Back?
Roseberry 4
3.Is it necessary to have a Reward stage, or can the hero complete their journey without being rewarded for their hard work?
Monday, October 20, 2008
Strengths and Weaknesses
Strengths:
-What I'm exploring
-Comparing and Contrasting
-Specific topic that should have a lot of information
-compare/and contrast section
-interesting to include alternatives/ veganism, etc. Good idea for those opposed to my view.
Weaknesses:
-for #4 may want to explore companies like chipotle buying products from places using more humane methods
-what is human vs. animals? unpack (go before) #1
-alternative points of view
-humans vs animals?
-needs specific examples include u.s laws concerning animal factory farming
-make sure I have good strong supporting points, try to avoid only emotional content
-What I'm exploring
-Comparing and Contrasting
-Specific topic that should have a lot of information
-compare/and contrast section
-interesting to include alternatives/ veganism, etc. Good idea for those opposed to my view.
Weaknesses:
-for #4 may want to explore companies like chipotle buying products from places using more humane methods
-what is human vs. animals? unpack (go before) #1
-alternative points of view
-humans vs animals?
-needs specific examples include u.s laws concerning animal factory farming
-make sure I have good strong supporting points, try to avoid only emotional content
Sunday, October 19, 2008
Annotated bib 7
Kristy Roseberry 1
October 19, 2008
Annotated Bibliography 7
Vogler 143-173
Citation:
Vogler, Christopher. “Approach to the Inmost Cave”. “The Ordeal”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
Vogler states that now that heroes have made the adjustment to the Special World, they now seek its heart. The Approach to the Inmost Cave is where the hero faces supreme wonder and terror. The functions of the approach could include making plans, reconnaissance on the enemy, reorganizing the group, arming themselves or having the last laugh before the big ordeal. The Approach can also be an arena for elaborate courtship rituals. Some heroes are confident and will take the bold approach. The Approach could also be a time for information gathering or dressing for the ordeal. Vogler cites the Wizard of Oz throughout his explanation of the Approach and the Ordeal. He states the Wizard of Oz has a well-developed approach section. Vogler also states that there are many obstacles in the Wizard of Oz that bond them as a group and prepare them for the struggle to follow. Vogler also states that it is important for the hero to stay alert during this time. Past experiences during the journey can also help the hero at this time and is informative for the present. A hero can also enter into another Special World, as Vogler uses the example of Chinese boxes within one another. Also, heroes
Roseberry 2
must enter with a state of balance. If past experiences do not get the hero past the gate an emotional appeal can be used to break down the defenses of the Threshold Guardians. By having an appeal of emotion, human quality is developed. Vogler states that sometimes the people you turn to in crisis will push you away and you might have to face the ordeal on your own. When heroes approach the Inmost Cave, they are on the edge of life and death. The Approach also reminds the audience of the “ticking clock”. During the Approach, it is important for heroes to get into the skin of the threshold guardians. Vogler also states that the hero might have to use force to get through the inmost cave. Heroes will always have to deal with the life or death situation even if they try to escape their fate.
The Ordeal is the greatest challenge that the hero faces. According to Vogler, heroes must die to be reborn again. Heroes face death or something like it in every story. They can also face a symbolic death and rebirth. After the “death” of the hero , the hero returns changed and transformed. The Ordeal is the central event of the story and is also known as the crisis. Like Vogler says, “sometimes things have to get worse before they get better” (157). By dealing with the Ordeal, the hero can recover or face victory. The death and rebirth usually occur during the middle of the story. Vogler uses the Central Crisis diagram to show this. A Central Crisis according to Vogler, has the advantage of symmetry and leaves time for consequences to follow. Vogler also discusses the Delayed Crisis diagram, which occurs about two-thirds of the way through the story. The Delayed Crisis diagram also leaves more room for preparation and Approach. The crisis separates the two halves of the story. Vogler also states that the nearness of death makes life more
Roseberry 3
real for the hero. Vogler states that adventure films and stories are popular because they are a less risky way to experience death and rebirth than bungee jumping or sky diving, through heroes we can identify with. Vogler states it is important to use alternating lowering and raising of the hero’s fortunes to add emotion to the story. The witness can also be a witness or cause of a death to get the point across. Vogler states that when we do not like things about ourselves and we project these things onto other people we are demonizing them. Sometimes this is necessary for humans to see an issue clearly. The hero can also come close to death, but the villain dies. Vogler also talks about Ariadne’s Thread and how it is a symbol of the power of love, and how the thread connects the hero with their loved ones and how the hero may venture, but the loved ones can pull them back. The Ordeal can also be a crisis of the heart. The Ordeal is when the hero faces their greatest fear.
Reaction:
As usual, Vogler does a good job at using detail to express his ideas. He also uses the example of the Wizard of Oz throughout the Approach and the Ordeal to see how Dorothy and the others deal with different situations. Vogler also uses the example of the Wizard of Oz and then inserts a message and states the main idea or concept of the example he uses, which is very helpful. The Approach to the Inmost Cave and The Ordeal are both important to the Hero’s Journey and their growth.
Questions:
1.Would you say that heroes often take the bold approach or not?
Roseberry 4
2.Do heroes always have to deal with the life or death situation even if they try to escape it? Can you think of any examples?
3.In your memoir do you face death in the Ordeal? Explain.
October 19, 2008
Annotated Bibliography 7
Vogler 143-173
Citation:
Vogler, Christopher. “Approach to the Inmost Cave”. “The Ordeal”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
Vogler states that now that heroes have made the adjustment to the Special World, they now seek its heart. The Approach to the Inmost Cave is where the hero faces supreme wonder and terror. The functions of the approach could include making plans, reconnaissance on the enemy, reorganizing the group, arming themselves or having the last laugh before the big ordeal. The Approach can also be an arena for elaborate courtship rituals. Some heroes are confident and will take the bold approach. The Approach could also be a time for information gathering or dressing for the ordeal. Vogler cites the Wizard of Oz throughout his explanation of the Approach and the Ordeal. He states the Wizard of Oz has a well-developed approach section. Vogler also states that there are many obstacles in the Wizard of Oz that bond them as a group and prepare them for the struggle to follow. Vogler also states that it is important for the hero to stay alert during this time. Past experiences during the journey can also help the hero at this time and is informative for the present. A hero can also enter into another Special World, as Vogler uses the example of Chinese boxes within one another. Also, heroes
Roseberry 2
must enter with a state of balance. If past experiences do not get the hero past the gate an emotional appeal can be used to break down the defenses of the Threshold Guardians. By having an appeal of emotion, human quality is developed. Vogler states that sometimes the people you turn to in crisis will push you away and you might have to face the ordeal on your own. When heroes approach the Inmost Cave, they are on the edge of life and death. The Approach also reminds the audience of the “ticking clock”. During the Approach, it is important for heroes to get into the skin of the threshold guardians. Vogler also states that the hero might have to use force to get through the inmost cave. Heroes will always have to deal with the life or death situation even if they try to escape their fate.
The Ordeal is the greatest challenge that the hero faces. According to Vogler, heroes must die to be reborn again. Heroes face death or something like it in every story. They can also face a symbolic death and rebirth. After the “death” of the hero , the hero returns changed and transformed. The Ordeal is the central event of the story and is also known as the crisis. Like Vogler says, “sometimes things have to get worse before they get better” (157). By dealing with the Ordeal, the hero can recover or face victory. The death and rebirth usually occur during the middle of the story. Vogler uses the Central Crisis diagram to show this. A Central Crisis according to Vogler, has the advantage of symmetry and leaves time for consequences to follow. Vogler also discusses the Delayed Crisis diagram, which occurs about two-thirds of the way through the story. The Delayed Crisis diagram also leaves more room for preparation and Approach. The crisis separates the two halves of the story. Vogler also states that the nearness of death makes life more
Roseberry 3
real for the hero. Vogler states that adventure films and stories are popular because they are a less risky way to experience death and rebirth than bungee jumping or sky diving, through heroes we can identify with. Vogler states it is important to use alternating lowering and raising of the hero’s fortunes to add emotion to the story. The witness can also be a witness or cause of a death to get the point across. Vogler states that when we do not like things about ourselves and we project these things onto other people we are demonizing them. Sometimes this is necessary for humans to see an issue clearly. The hero can also come close to death, but the villain dies. Vogler also talks about Ariadne’s Thread and how it is a symbol of the power of love, and how the thread connects the hero with their loved ones and how the hero may venture, but the loved ones can pull them back. The Ordeal can also be a crisis of the heart. The Ordeal is when the hero faces their greatest fear.
Reaction:
As usual, Vogler does a good job at using detail to express his ideas. He also uses the example of the Wizard of Oz throughout the Approach and the Ordeal to see how Dorothy and the others deal with different situations. Vogler also uses the example of the Wizard of Oz and then inserts a message and states the main idea or concept of the example he uses, which is very helpful. The Approach to the Inmost Cave and The Ordeal are both important to the Hero’s Journey and their growth.
Questions:
1.Would you say that heroes often take the bold approach or not?
Roseberry 4
2.Do heroes always have to deal with the life or death situation even if they try to escape it? Can you think of any examples?
3.In your memoir do you face death in the Ordeal? Explain.
Friday, October 10, 2008
Sunday, October 5, 2008
I Search...
Kristy Roseberry 1
Professor Robinson
October 5, 2008
Analytic and Persuasive Writing
I-Search
1. There are several larger themes in my memoir. Some of these themes include, but are not limited to; compassion, economics, culture, education, motivation, hard work, and social status.
2. Compassion appears in the cultural environment in several ways. Some examples are; humane treatment for animals, equality for all individuals, Human Rights, volunteering to give to other people, activists against war, genocide such as Darfur, equal pay for all individuals including migrant workers, and aiding other nations.
3. I have a decent amount of knowledge on the topic of compassion. I believe that every human being should have compassion for other human beings and species. I am a vegetarian and have been for fourteen years, thus I strongly support the idea of humane treatment for animals and veganism and vegetarianism. I do believe that there is a lot of compassion to be found in the world, and that in great tragic events people come together through compassion, such as 9/11.
In order for the world to be in peace, human beings must show compassion to others. Compassion has brought about many great changes in the world, such as better treatment for animals, equality of humans, the aiding of nations to other nations, and a great amount of people volunteering. I do believe that if there were more compassionate people in the world, the world would be a better place.
4. Does every human being have compassion? How does an individual come to have compassion? Is compassion something that is natural to human beings or is it acquired? What makes an individual want to help other people or animals? How is compassion expressed? Where in history has compassion been expressed? How can compassion become more common? What does it mean to be compassionate? What are the components of compassion?
Professor Robinson
October 5, 2008
Analytic and Persuasive Writing
I-Search
1. There are several larger themes in my memoir. Some of these themes include, but are not limited to; compassion, economics, culture, education, motivation, hard work, and social status.
2. Compassion appears in the cultural environment in several ways. Some examples are; humane treatment for animals, equality for all individuals, Human Rights, volunteering to give to other people, activists against war, genocide such as Darfur, equal pay for all individuals including migrant workers, and aiding other nations.
3. I have a decent amount of knowledge on the topic of compassion. I believe that every human being should have compassion for other human beings and species. I am a vegetarian and have been for fourteen years, thus I strongly support the idea of humane treatment for animals and veganism and vegetarianism. I do believe that there is a lot of compassion to be found in the world, and that in great tragic events people come together through compassion, such as 9/11.
In order for the world to be in peace, human beings must show compassion to others. Compassion has brought about many great changes in the world, such as better treatment for animals, equality of humans, the aiding of nations to other nations, and a great amount of people volunteering. I do believe that if there were more compassionate people in the world, the world would be a better place.
4. Does every human being have compassion? How does an individual come to have compassion? Is compassion something that is natural to human beings or is it acquired? What makes an individual want to help other people or animals? How is compassion expressed? Where in history has compassion been expressed? How can compassion become more common? What does it mean to be compassionate? What are the components of compassion?
Vogler 107-125 Annotated Bibliographt 5
Kristy Roseberry 1
September 27, 2008
Professor Robinson
Analytic and Persuasive Writing
Vogler 107-125 Annotated Bibliography
Citation:
Vogler, Christopher. “Refusal of the Call”. “Meeting with the Mentor”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
The third stage of the hero’s journey is the Refusal of the Call. At this point, the hero must respond to the Call to Adventure. The Refusal of the Call plays an important role of showing the audience that the adventure is risky and involves some danger. Also, showing that there is a type of gamble. When the hero stops to weigh the consequences of the adventure this is showing a real choice for the hero. Vogler states that it is natural for heroes to react by avoiding the adventure. Vogler uses the examples of Rambo, Rocky, and John Wayne to show how heroes can sometimes hesitate even if they are great heroes. Heroes tend to react against the Call to Adventure because of past experiences. The hero will protest the adventure until their Refusal is overcome by a stronger motivation. Vogler states that the more a hero rejects the Call to Adventure, the more the audience is drawn in. Vogler states that heroes most often Refuse the Call by making a list of excuses why they should not continue with the Call to Adventure. Vogler also states that persistent Refusal of the Call can be disastrous. According to Vogler, looking backward, dwelling in the past, and denying reality are all forms of Refusal. Heroes can
Roseberry 2
also have conflicting Calls to Adventure, which a hero must choose between Calls from different levels of adventure. The Refusal of the Call is usually negative for the hero, but it can also be positive, which when Refusing the Call is actually wise. Another Refusal of the Call that is positive is the artist as a hero. An artist is faced with the decision of what the rest of the world wants to see for art and what the artist himself wants to do for art. Also, while many heroes are reluctant to the Call to Adventure, there are also willing heroes who accept the Call to Adventure and are called “seekers” as compared to “victimized heroes”. Threshold Guardians can also block the heroes before their adventure begins. The Mentor can also change roles and play the role of the Threshold Guardian. Vogler states that heroes violate limits set by Mentors or Threshold Guardians due to the Law of the Secret Door and human nature of curiosity.
The fourth stage of the hero’s journey is Meeting with the Mentor. Meeting with the Mentor is when the hero gains supplies, knowledge, and confidence to overcome the adventure. Vogler states that there are many movies that are constantly elaborating the relationship between the hero and the mentor. Heroes always have some source of wisdom even if there is no actual character. Meeting with the Mentor is an emotional relationship with the hero and the mentor. Vogler states that everyone has had a relationship with a Mentor or role model. Vogler talks about folklore and how it is filled with heroes meeting magical protectors. He also talks about how many of the Greek heroes were mentored by the centaur Chiron, who is a prototype for all Wise Old Men and Women. The term Mentor comes from The Odyssey. Mentor was a loyal friend of Odysseus and Mentor has given his name to all guides and trainers, but it is really Athena who is the goddess of wisdom who works behind the scenes of the story to bring the energy of the Mentor archetype. Vogler states that a good Mentor is enthused with learning. The
Roseberry 3
word Mentes and Mentor comes from the Greek word menos which means intention or force, or purpose as well as mind. Vogler states to avoid mentor clichés. He also states that audiences do not mind being misled about a Mentor because in real life people are full of surprises and do not always turn out to be who you thought they were. Vogler states that the Mentor-hero relationship can take a tragic turn if the hero is ungrateful. Also, sometimes a Mentor turns villain or betrays the hero. Stories can also be based entirely on a Mentor. Mentors also can be regarded as heroes who become experienced enough to teach others. Mentors represent the reality that we all have to learn lessons of life.
Reaction:
Vogler does a good job describing the role of the Refusal of the Call and the Meeting with the Mentor. Both of these stages are important for the hero’s journey. The Refusal of the Call is important because as Vogler states the hero weighs out the consequences of the adventure and shows that this is a difficult decision for the hero. Meeting with the Mentor is important because the Mentor guides the hero and helps them throughout the journey. As Vogler states, Mentors can also turn out to be villains and betray the hero. This is important to note because this situation is not uncommon. Therefore, the Refusal of the Call and the Meeting with the Mentor are important stages for the hero. I do not really agree with Vogler that everyone has had a relationship with a mentor or role model. Yes, most people have, but I do not think it is fair to assume that everyone has had this experience, whether it has been a teacher, a parent, or a friend.
Questions:
1. Have you ever experienced conflicting calls to adventure? If so, when? How did you deal with this situation?
Roseberry 4
2. Do you agree with the statement that “everyone has had a relationship with a mentor or a role model”? Explain.
3. What do you think the best way to avoid mentor clichés is?
September 27, 2008
Professor Robinson
Analytic and Persuasive Writing
Vogler 107-125 Annotated Bibliography
Citation:
Vogler, Christopher. “Refusal of the Call”. “Meeting with the Mentor”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
The third stage of the hero’s journey is the Refusal of the Call. At this point, the hero must respond to the Call to Adventure. The Refusal of the Call plays an important role of showing the audience that the adventure is risky and involves some danger. Also, showing that there is a type of gamble. When the hero stops to weigh the consequences of the adventure this is showing a real choice for the hero. Vogler states that it is natural for heroes to react by avoiding the adventure. Vogler uses the examples of Rambo, Rocky, and John Wayne to show how heroes can sometimes hesitate even if they are great heroes. Heroes tend to react against the Call to Adventure because of past experiences. The hero will protest the adventure until their Refusal is overcome by a stronger motivation. Vogler states that the more a hero rejects the Call to Adventure, the more the audience is drawn in. Vogler states that heroes most often Refuse the Call by making a list of excuses why they should not continue with the Call to Adventure. Vogler also states that persistent Refusal of the Call can be disastrous. According to Vogler, looking backward, dwelling in the past, and denying reality are all forms of Refusal. Heroes can
Roseberry 2
also have conflicting Calls to Adventure, which a hero must choose between Calls from different levels of adventure. The Refusal of the Call is usually negative for the hero, but it can also be positive, which when Refusing the Call is actually wise. Another Refusal of the Call that is positive is the artist as a hero. An artist is faced with the decision of what the rest of the world wants to see for art and what the artist himself wants to do for art. Also, while many heroes are reluctant to the Call to Adventure, there are also willing heroes who accept the Call to Adventure and are called “seekers” as compared to “victimized heroes”. Threshold Guardians can also block the heroes before their adventure begins. The Mentor can also change roles and play the role of the Threshold Guardian. Vogler states that heroes violate limits set by Mentors or Threshold Guardians due to the Law of the Secret Door and human nature of curiosity.
The fourth stage of the hero’s journey is Meeting with the Mentor. Meeting with the Mentor is when the hero gains supplies, knowledge, and confidence to overcome the adventure. Vogler states that there are many movies that are constantly elaborating the relationship between the hero and the mentor. Heroes always have some source of wisdom even if there is no actual character. Meeting with the Mentor is an emotional relationship with the hero and the mentor. Vogler states that everyone has had a relationship with a Mentor or role model. Vogler talks about folklore and how it is filled with heroes meeting magical protectors. He also talks about how many of the Greek heroes were mentored by the centaur Chiron, who is a prototype for all Wise Old Men and Women. The term Mentor comes from The Odyssey. Mentor was a loyal friend of Odysseus and Mentor has given his name to all guides and trainers, but it is really Athena who is the goddess of wisdom who works behind the scenes of the story to bring the energy of the Mentor archetype. Vogler states that a good Mentor is enthused with learning. The
Roseberry 3
word Mentes and Mentor comes from the Greek word menos which means intention or force, or purpose as well as mind. Vogler states to avoid mentor clichés. He also states that audiences do not mind being misled about a Mentor because in real life people are full of surprises and do not always turn out to be who you thought they were. Vogler states that the Mentor-hero relationship can take a tragic turn if the hero is ungrateful. Also, sometimes a Mentor turns villain or betrays the hero. Stories can also be based entirely on a Mentor. Mentors also can be regarded as heroes who become experienced enough to teach others. Mentors represent the reality that we all have to learn lessons of life.
Reaction:
Vogler does a good job describing the role of the Refusal of the Call and the Meeting with the Mentor. Both of these stages are important for the hero’s journey. The Refusal of the Call is important because as Vogler states the hero weighs out the consequences of the adventure and shows that this is a difficult decision for the hero. Meeting with the Mentor is important because the Mentor guides the hero and helps them throughout the journey. As Vogler states, Mentors can also turn out to be villains and betray the hero. This is important to note because this situation is not uncommon. Therefore, the Refusal of the Call and the Meeting with the Mentor are important stages for the hero. I do not really agree with Vogler that everyone has had a relationship with a mentor or role model. Yes, most people have, but I do not think it is fair to assume that everyone has had this experience, whether it has been a teacher, a parent, or a friend.
Questions:
1. Have you ever experienced conflicting calls to adventure? If so, when? How did you deal with this situation?
Roseberry 4
2. Do you agree with the statement that “everyone has had a relationship with a mentor or a role model”? Explain.
3. What do you think the best way to avoid mentor clichés is?
Tuesday, September 30, 2008
Status of Revision
There were many things that I revised. I revised my memoir many times. The main thing I revised as far as paragraph level was guiding the reader to the next paragraph. I also attempted to make my connections between the events I described and the "so what" stronger. The third thing that I revised was expressing what I had learned and really letting the reader know what I learned.
Three things I edited on a sentence level are; the things and its that I used to a lot, use of commas, and using detail to desrcibe what was happening.
Three things I edited on a sentence level are; the things and its that I used to a lot, use of commas, and using detail to desrcibe what was happening.
Saturday, September 27, 2008
Annotated Bibliography 4 Vogler 83-105
Kristy Roseberry 1
September 27, 2008
Professor Robinson
Analytic and Persuasive Writing
Vogler 83-105 Annotated Bibliography
Citation:
Vogler, Christopher. “The Ordinary World”. “The Call to Adventure”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
Vogler states that the opening of any story has some special burdens to bear. He states that the beginning must get the reader’s interest, set a tone of the story, suggest where it is going and get across a lot of information. Vogler states that the beginning is delicate. Vogler states that the beginning of a story is a good place to set a mood, image, or metaphor for the story. He also states that a carefully selected title can intrigue the audience to see what is to come. Vogler states that oral storyteller’s begin their story with “once upon a time” to get the attention of the audience. These signals, Vogler states let the reader in on the mood of the story. Vogler states that a title is important to let the reader know the nature and attitude of a story. He also says that an opening image can be a powerful tool. Some stories can even begin with a prologue section before that actual story.
A prologue can serve several functions such as; giving an essential piece of the backstory, cue the audience, or starting the story. Vogler states by upsetting the audiences’ normal perceptions, the audience may become more receptive. A prologue is also not necessary
Roseberry 2
in every story. It is vital in a story to establish the ordinary world as a base for comparing the Special World. It is also useful to make the Ordinary World very different from the Special World. The Ordinary World can also be used to create a model of the Special World and foreshadow battles and other dilemmas. The Ordinary World also suggests the dramatic question of the story. According to Vogler, every hero needs inner and outer problems. This is because heroes without inner challenges seem boring to the audience. Heroes also have to learn something in the story. It is also an important part of building character’s relationship with the audience for the character to make an entrance. The entrance should define and reveal the character. The Ordinary World also introduces the hero to the audience. It is important to establish a bond of sympathy or common interest between the hero and the audience. Also, the opening scene creates identification between the audience and the hero. The identification is created by giving the hero universal qualities. Hero’s are always lacking something or something is taken away from them.
Tragic heroes can possess admirable qualities, but also possess the tragic flaw of hamartia, which ultimately leads to their destruction. Tragic heroes tend to be superior people with extraordinary powers and feel they are equal or better than the gods. Vogler states that every well-rounded hero has a trace of tragic flaws.
There are also wounded heroes who have deep psychic wounds. These wounds are universal wounds that everyone has suffered from. By giving a hero a wound, the hero is humanized. These wounds also do not have to be visible. The wound also does not have to be expressed, it can be between the character and the writer. Vogler states that many stories are about the healing of a wound. In order for an audience to be involved in the adventure they have
Roseberry 3
to know what is at stake. Also, during the Ordinary World, backstory and exposition occurs. Backstory according to Vogler, is the relevant information about a character’s history and background. Exposition is the art of revealing the backstory and any other important information n about the plot. Also, in the Ordinary World the theme of the story occurs.
Vogler states that the Ordinary World for most heroes is static, but unstable. The Call to Adventure is also known as the inciting or initiating incident, catalyst or trigger. The Call to Adventure can also be a message from a messenger. The Call to Adventure can also be a stirring within the hero, which can come in the form of dreams, fantasies, or visions. Synchronicity is the stirring of accidents that may be the message that calls the hero to the adventure. A hero can also be summoned to the Call to Adventure by temptation. The Call to Adventure is usually delivered by the Herald of a story. Reconnaissance is when a villain makes a survey of the hero’s territory, and this section lets the audience know the struggle is about to begin. The Call to Adventure can be unsettling and disorientating to the hero, but is necessary for the hero. A Call to Adventure can occur in the form of a loss to the hero. A Call to Adventure can also be the hero running out of options. Also, not all Call to Adventures are positive summons. A story can also have more than one call to adventure. Vogler states that the Call of Adventure is a process of selection, and states that there are reluctant heroes and willing heroes.
Reaction:
The more and more I learn about the writer’s journey, the more interesting it is to me to think about these archetypes in stories, television and movies that I watch. The Ordinary World and the Call to Adventure are two of the most vital parts of the hero’s journey. This is the point
Roseberry 4
where many important events occur in the story, which get the audience hooked. Like usual, Vogler does a good job describing these two major events and gives many good examples.
Questions:
1.What are two examples of television shows and movies where the Ordinary World and the Call to Adventure are very clear?
2.Do you agree that the Ordinary World is important for the audience to get hooked on the story? If so, why is this important?
3.What are the most important roles of the Ordinary World and the Call to Adventure? Why do you believe this? Give examples to justify.
September 27, 2008
Professor Robinson
Analytic and Persuasive Writing
Vogler 83-105 Annotated Bibliography
Citation:
Vogler, Christopher. “The Ordinary World”. “The Call to Adventure”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
Vogler states that the opening of any story has some special burdens to bear. He states that the beginning must get the reader’s interest, set a tone of the story, suggest where it is going and get across a lot of information. Vogler states that the beginning is delicate. Vogler states that the beginning of a story is a good place to set a mood, image, or metaphor for the story. He also states that a carefully selected title can intrigue the audience to see what is to come. Vogler states that oral storyteller’s begin their story with “once upon a time” to get the attention of the audience. These signals, Vogler states let the reader in on the mood of the story. Vogler states that a title is important to let the reader know the nature and attitude of a story. He also says that an opening image can be a powerful tool. Some stories can even begin with a prologue section before that actual story.
A prologue can serve several functions such as; giving an essential piece of the backstory, cue the audience, or starting the story. Vogler states by upsetting the audiences’ normal perceptions, the audience may become more receptive. A prologue is also not necessary
Roseberry 2
in every story. It is vital in a story to establish the ordinary world as a base for comparing the Special World. It is also useful to make the Ordinary World very different from the Special World. The Ordinary World can also be used to create a model of the Special World and foreshadow battles and other dilemmas. The Ordinary World also suggests the dramatic question of the story. According to Vogler, every hero needs inner and outer problems. This is because heroes without inner challenges seem boring to the audience. Heroes also have to learn something in the story. It is also an important part of building character’s relationship with the audience for the character to make an entrance. The entrance should define and reveal the character. The Ordinary World also introduces the hero to the audience. It is important to establish a bond of sympathy or common interest between the hero and the audience. Also, the opening scene creates identification between the audience and the hero. The identification is created by giving the hero universal qualities. Hero’s are always lacking something or something is taken away from them.
Tragic heroes can possess admirable qualities, but also possess the tragic flaw of hamartia, which ultimately leads to their destruction. Tragic heroes tend to be superior people with extraordinary powers and feel they are equal or better than the gods. Vogler states that every well-rounded hero has a trace of tragic flaws.
There are also wounded heroes who have deep psychic wounds. These wounds are universal wounds that everyone has suffered from. By giving a hero a wound, the hero is humanized. These wounds also do not have to be visible. The wound also does not have to be expressed, it can be between the character and the writer. Vogler states that many stories are about the healing of a wound. In order for an audience to be involved in the adventure they have
Roseberry 3
to know what is at stake. Also, during the Ordinary World, backstory and exposition occurs. Backstory according to Vogler, is the relevant information about a character’s history and background. Exposition is the art of revealing the backstory and any other important information n about the plot. Also, in the Ordinary World the theme of the story occurs.
Vogler states that the Ordinary World for most heroes is static, but unstable. The Call to Adventure is also known as the inciting or initiating incident, catalyst or trigger. The Call to Adventure can also be a message from a messenger. The Call to Adventure can also be a stirring within the hero, which can come in the form of dreams, fantasies, or visions. Synchronicity is the stirring of accidents that may be the message that calls the hero to the adventure. A hero can also be summoned to the Call to Adventure by temptation. The Call to Adventure is usually delivered by the Herald of a story. Reconnaissance is when a villain makes a survey of the hero’s territory, and this section lets the audience know the struggle is about to begin. The Call to Adventure can be unsettling and disorientating to the hero, but is necessary for the hero. A Call to Adventure can occur in the form of a loss to the hero. A Call to Adventure can also be the hero running out of options. Also, not all Call to Adventures are positive summons. A story can also have more than one call to adventure. Vogler states that the Call of Adventure is a process of selection, and states that there are reluctant heroes and willing heroes.
Reaction:
The more and more I learn about the writer’s journey, the more interesting it is to me to think about these archetypes in stories, television and movies that I watch. The Ordinary World and the Call to Adventure are two of the most vital parts of the hero’s journey. This is the point
Roseberry 4
where many important events occur in the story, which get the audience hooked. Like usual, Vogler does a good job describing these two major events and gives many good examples.
Questions:
1.What are two examples of television shows and movies where the Ordinary World and the Call to Adventure are very clear?
2.Do you agree that the Ordinary World is important for the audience to get hooked on the story? If so, why is this important?
3.What are the most important roles of the Ordinary World and the Call to Adventure? Why do you believe this? Give examples to justify.
Ethos, Pathos, Logos
Ethos-Mercy Me-I Can Only Imagine
This image is a good example of ethos because it shows that family is valuable.
Pathos-Leona Lewis-Bleeding Love
This image of an abortion definitely represents an appeal to emotion and wants the viewer to stop and think about abortion.
Logos- Staind-For You
This is a picture from the Holocaust and shows the fact of what the Holocaust was like.
This image is a good example of ethos because it shows that family is valuable.
Pathos-Leona Lewis-Bleeding LoveThis image of an abortion definitely represents an appeal to emotion and wants the viewer to stop and think about abortion.
Logos- Staind-For You
This is a picture from the Holocaust and shows the fact of what the Holocaust was like.
Monday, September 22, 2008
Annotated Bibliography 3
Kristy Roseberry 1
September 22, 2008
Annotated Bibliography 3
Analytic and Persuasive Writing
Citation:
Vogler, Christopher. “Threshold Guardian”. “Herald”. “Shapeshifter”. “Shadow”. “Ally”. “Trickster”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
The section about the threshold guardian states that all heroes encounter obstacles on their road to adventure. The Threshold Guardians can be overcome and turned into allies. They are usually not the main antagonists in the story. Vogler states that there is usually a symbiotic relationship between a villain and a Threshold Guardian. The Threshold Guardians represent our inner demons. The primary dramatic function of the Threshold Guardian is to test the hero. Vogler states, that one of the most effective ways of dealing with the Threshold Guardian is to get into their skin, entering into their spirit or taking on their appearance temporarily. Vogler states, that successful heroes recognize that Threshold Guardians can be useful as allies. Threshold Guardians can be in a lot of different forms.
The next section, “herald”, states that the herald character issues challenges and announces the coming of significant change. Their most important psychological
Roseberry 2
function is the announcing of change. Vogler states, that heralds provide motivation to the hero, and the herald can be a person or a force. The herald can even be positive, negative, or a neutral figure. Also, the herald’s mask can be taken on by any other archetype in the story, but the mentor usually acts as the herald. This archetype also comes into play usually in Act One, but can come in at in point in the story.
The next section is the Shapeshifter archetype. The Shapeshifter’s nature is to be shifting and unstable. They change appearance and mood, and make it difficult for anyone to pin down. The main psychological function of the Shapeshifter is to express the energy of the animus or anima, according to Carl Jung. Anima is the male element in the female unconscious, and the animus is the female element in the male unconscious. This encounter is considered to be an important step for psychological growth. Vogler states, that we often go through relationships trying to force our partner to match our projection. This is easily witnessed in many relationships today. The anima or animus can also be positive or negative, and can prove to be helpful or destructive to the hero. The Shapeshifter is also said to be a symbol of the psychological urge to change. The main dramatic function of the Shapeshifter is to bring doubt and suspense to the story. Two common types of a Shapeshifter are; the femme fatale, which is a woman as a temptress or destroyer, and a homes fatales, which is the male character. The Shapeshifter mask, like the other archetypes, can be worn by any character in the story. The Shapeshifter is one of the most flexible archetypes, and is usually found in male-female relationships.
Roseberry 3
The Shadow archetype represents the energy of the dark side. The Shadow can also shelter positive qualities that are hiding or have been rejected. It can also be the shady part of ourselves that we struggle with over bad habits. In our dreams, Shadows appear as monsters, or demons. The dramatic function of the Shadow is to challenge the hero. The Shadow can also be worn by any character in the story, and is often worn by the primary mentor. Shadows are also not totally evil, and Vogler states it is better for them to be humanized and have a good quality to them. They are also humanized by being vulnerable. A Shadow can be a character or external force, or a repressed part of the hero. Vogler states, that the external Shadows must be destroyed. Shadows can also be positive or negative.
The Ally archetype serves as a companion, conscience, or comic relief. Allies are said to do mundane tasks. Heroes can also have many allies, all which have different skills. In Western movies, the Ally is called a “sidekick”. Allies also do not have to be human, they can be a spirit protector like an angel or guardian angel. Allies can also be animals, or even among the dead. Allies can also be considered helpful servants. The psychological function of the Ally is to represent the unexpressed or unused parts of the personality that have to be brought into action to do their job. In fiction, Allies suggest alternate paths for problem-solving and help with the hero’s personality.
The Trickster archetype has a mischief quality and desires change. The Trickster can often be a clown, or comical sidekick. The Trickster is often the leading figure in
Roseberry 4
myths and is popular in folklore and fairy tales. The main psychological function of the Trickster is to bring down the hero’s ego and bring the audience down to Earth. The dramatic function of the Trickster is comic relief. Tricksters can also be servants or Allies. Tricksters also like to stir of trouble just because. They are often catalyst characters. Vogler concludes with saying that the archetypes can be used to make characters unique and universal.
Reaction:
Like usual, the text by Vogler is easily understood and the terms are portrayed with several examples. All the different archetypes are now defined and understood in the text, and it is interesting to think about these archetypes while reading a book or watching a movie now. Vogler truly does make it easy, through the examples he uses to relate these archetypes to modern stories and television.
Questions:
1) Do most stories or movies portray all of the different archetypes, or even most of them?
2) What is the most common archetype seen in movies or television, besides the hero? What purpose does this archetype serve?
3) What archetype is the most important to the hero in order to complete his or her journey? Why is this?
September 22, 2008
Annotated Bibliography 3
Analytic and Persuasive Writing
Citation:
Vogler, Christopher. “Threshold Guardian”. “Herald”. “Shapeshifter”. “Shadow”. “Ally”. “Trickster”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
The section about the threshold guardian states that all heroes encounter obstacles on their road to adventure. The Threshold Guardians can be overcome and turned into allies. They are usually not the main antagonists in the story. Vogler states that there is usually a symbiotic relationship between a villain and a Threshold Guardian. The Threshold Guardians represent our inner demons. The primary dramatic function of the Threshold Guardian is to test the hero. Vogler states, that one of the most effective ways of dealing with the Threshold Guardian is to get into their skin, entering into their spirit or taking on their appearance temporarily. Vogler states, that successful heroes recognize that Threshold Guardians can be useful as allies. Threshold Guardians can be in a lot of different forms.
The next section, “herald”, states that the herald character issues challenges and announces the coming of significant change. Their most important psychological
Roseberry 2
function is the announcing of change. Vogler states, that heralds provide motivation to the hero, and the herald can be a person or a force. The herald can even be positive, negative, or a neutral figure. Also, the herald’s mask can be taken on by any other archetype in the story, but the mentor usually acts as the herald. This archetype also comes into play usually in Act One, but can come in at in point in the story.
The next section is the Shapeshifter archetype. The Shapeshifter’s nature is to be shifting and unstable. They change appearance and mood, and make it difficult for anyone to pin down. The main psychological function of the Shapeshifter is to express the energy of the animus or anima, according to Carl Jung. Anima is the male element in the female unconscious, and the animus is the female element in the male unconscious. This encounter is considered to be an important step for psychological growth. Vogler states, that we often go through relationships trying to force our partner to match our projection. This is easily witnessed in many relationships today. The anima or animus can also be positive or negative, and can prove to be helpful or destructive to the hero. The Shapeshifter is also said to be a symbol of the psychological urge to change. The main dramatic function of the Shapeshifter is to bring doubt and suspense to the story. Two common types of a Shapeshifter are; the femme fatale, which is a woman as a temptress or destroyer, and a homes fatales, which is the male character. The Shapeshifter mask, like the other archetypes, can be worn by any character in the story. The Shapeshifter is one of the most flexible archetypes, and is usually found in male-female relationships.
Roseberry 3
The Shadow archetype represents the energy of the dark side. The Shadow can also shelter positive qualities that are hiding or have been rejected. It can also be the shady part of ourselves that we struggle with over bad habits. In our dreams, Shadows appear as monsters, or demons. The dramatic function of the Shadow is to challenge the hero. The Shadow can also be worn by any character in the story, and is often worn by the primary mentor. Shadows are also not totally evil, and Vogler states it is better for them to be humanized and have a good quality to them. They are also humanized by being vulnerable. A Shadow can be a character or external force, or a repressed part of the hero. Vogler states, that the external Shadows must be destroyed. Shadows can also be positive or negative.
The Ally archetype serves as a companion, conscience, or comic relief. Allies are said to do mundane tasks. Heroes can also have many allies, all which have different skills. In Western movies, the Ally is called a “sidekick”. Allies also do not have to be human, they can be a spirit protector like an angel or guardian angel. Allies can also be animals, or even among the dead. Allies can also be considered helpful servants. The psychological function of the Ally is to represent the unexpressed or unused parts of the personality that have to be brought into action to do their job. In fiction, Allies suggest alternate paths for problem-solving and help with the hero’s personality.
The Trickster archetype has a mischief quality and desires change. The Trickster can often be a clown, or comical sidekick. The Trickster is often the leading figure in
Roseberry 4
myths and is popular in folklore and fairy tales. The main psychological function of the Trickster is to bring down the hero’s ego and bring the audience down to Earth. The dramatic function of the Trickster is comic relief. Tricksters can also be servants or Allies. Tricksters also like to stir of trouble just because. They are often catalyst characters. Vogler concludes with saying that the archetypes can be used to make characters unique and universal.
Reaction:
Like usual, the text by Vogler is easily understood and the terms are portrayed with several examples. All the different archetypes are now defined and understood in the text, and it is interesting to think about these archetypes while reading a book or watching a movie now. Vogler truly does make it easy, through the examples he uses to relate these archetypes to modern stories and television.
Questions:
1) Do most stories or movies portray all of the different archetypes, or even most of them?
2) What is the most common archetype seen in movies or television, besides the hero? What purpose does this archetype serve?
3) What archetype is the most important to the hero in order to complete his or her journey? Why is this?
Tuesday, September 16, 2008
Extra Credits
1)The first extra credit I donated 1000 grains of rice. It was fun and helpful to learn new words. Others should do this activity because it helps one with vocabulary. It is a good way to learn new words.
2)The second extra credit I did was the six word memoir. I really did not learn anything from this extra credit. Others should do it because it is really easy and interesting to see what words you use to describe your life.
3)The third extra credit I was to go to npr.org and listened to a story on StoryCorps. The story I listened to was "Sept. 11 Took Boy's Grandfather, Friend". The story was about a boy who's grandfather worked in the World Trade Center and did not come home from work on 9/11. The boy greatly loved his grandfather and was also a friend. The story was really touching. Others should do this activity because it is always helpful to read some news and articles.
4)The fourth extra credit I did was to go to the web of language and read something that interests me. I read "Correcting other people's English illegal -- Comma Bombers guilty on federal conspiracy charges". It was about these two guys who went and corrected a sign at the Grand Canyon and got in trouble. This was really more interesting than anything. I suppose I learned not to correct signs. Other people should go to this site because it is interesting to read some of the articles.
5. The fifth extra credit I did was to watch the two videos on youtube.com. The first video was "Rhetoric for Kids", and it was quite entertaining. The purpose of this video was to teach kids rhetoric they already know, but to better use it. The second video was "Ethos, Pathos, Logos in film". It showed ethos, pathos, and logos in films such as Men in Black, The Breakfast Club, Monty Python and the Holy Grail, and Monsters, Inc. It was interesting to see ethos, pathos, and logos used in each movie. Other people should go to these videos because they are interesting and fun.
6. A random act of kindness that I did was to hold a door open for an old lady who was leaving the store with groceries. I would do this all the time, but it is still an act of kindness. I enjoy being nice to other people. Other people should do acts of kindness because the world would be a better place.
7. Three links for my project two topic are:
1. http://www.youtube.com/watch?v=CaHXA1LLB_I
2.http://www.youtube.com/watch?v=_FH8AQzk4HM
3.http://www.youtube.com/watch?v=_2VR9W7PJcE
There are many videos on factory farming and vegetarianism and veganism. Going to youtube is a great opportunity to see first hand the issue of your paper.
8. I wrote an email to Peter Singer, the author of Animal Liberation.
From:
"Kristy L. Roseberry"
To:
psinger@princeton.edu
Subject:
Thank you
Headers:
Show All Headers
Dear Mr. Singer,I just wanted to let you know that your book Animal Liberation is very influential and inspiring. Thank you for writing such a great piece of work. Take care.
2)The second extra credit I did was the six word memoir. I really did not learn anything from this extra credit. Others should do it because it is really easy and interesting to see what words you use to describe your life.
3)The third extra credit I was to go to npr.org and listened to a story on StoryCorps. The story I listened to was "Sept. 11 Took Boy's Grandfather, Friend". The story was about a boy who's grandfather worked in the World Trade Center and did not come home from work on 9/11. The boy greatly loved his grandfather and was also a friend. The story was really touching. Others should do this activity because it is always helpful to read some news and articles.
4)The fourth extra credit I did was to go to the web of language and read something that interests me. I read "Correcting other people's English illegal -- Comma Bombers guilty on federal conspiracy charges". It was about these two guys who went and corrected a sign at the Grand Canyon and got in trouble. This was really more interesting than anything. I suppose I learned not to correct signs. Other people should go to this site because it is interesting to read some of the articles.
5. The fifth extra credit I did was to watch the two videos on youtube.com. The first video was "Rhetoric for Kids", and it was quite entertaining. The purpose of this video was to teach kids rhetoric they already know, but to better use it. The second video was "Ethos, Pathos, Logos in film". It showed ethos, pathos, and logos in films such as Men in Black, The Breakfast Club, Monty Python and the Holy Grail, and Monsters, Inc. It was interesting to see ethos, pathos, and logos used in each movie. Other people should go to these videos because they are interesting and fun.
6. A random act of kindness that I did was to hold a door open for an old lady who was leaving the store with groceries. I would do this all the time, but it is still an act of kindness. I enjoy being nice to other people. Other people should do acts of kindness because the world would be a better place.
7. Three links for my project two topic are:
1. http://www.youtube.com/watch?v=CaHXA1LLB_I
2.http://www.youtube.com/watch?v=_FH8AQzk4HM
3.http://www.youtube.com/watch?v=_2VR9W7PJcE
There are many videos on factory farming and vegetarianism and veganism. Going to youtube is a great opportunity to see first hand the issue of your paper.
8. I wrote an email to Peter Singer, the author of Animal Liberation.
From:
"Kristy L. Roseberry"
To:
psinger@princeton.edu
Subject:
Thank you
Headers:
Show All Headers
Dear Mr. Singer,I just wanted to let you know that your book Animal Liberation is very influential and inspiring. Thank you for writing such a great piece of work. Take care.
9. The picture at the top of this post is just me being me. I represent Vogler's hero because as Vogler states everyone who has ever overcome something even inner is a hero. Therefore, I have overcome many things and I represent the definition of Vogler's hero.
10. At first I was not going to vote because I am not ALL for McCain or Obama, but then I decided I would. I work at the courthouse and they had early voting in the government center and so I thought I could go yesterday after work, but didn't know that early voting was over so did not. Then I was going to go vote today after work, but really did not feel well and was exhausted. Thus, I did not vote.
11-13-GET OUT OF JAIL FREE FOR 3 EXTRA CREDITS!
Thursday, September 4, 2008
Free Writes 1
Project One Free Writes
As you consider what to write your memoir about, you will need to do some thinking, and one of the best ways to think is to write. For this portion of the project, you will conduct a free writing exercise.
First, turn off your monitor.
Second, clear your mind.
Third, prepare to write. Don’t worry about grammar or structure; just write your ideas as they come to you.
Follow these basic prompts. Spend five minutes on each prompt.
People would find the most surprising thing about me was that...I have been a vegetarian for fourteen years. People do not understand how I could not eat meat for this long. But, to me it is nothing out of the ordinary. I do not like the taste of meat, and I also do not like the idea of killing an animal. I am a very picky eater, and will not eat anything with eggs or gelatin in it.
A major turning point in my life was...going to college. Since going to Eckerd, I have had many great opportunities that I probably would of never had if I did not come here. I have learned so much from college and am very grateful for it.
My top three "New Years Resolutions" (past or present) have been... 1)Become a better person 2)Get straight A’s 3)Succeed
My greatest fear in life is...losing people I care about and failing. I am always worried about everything. I worry way more than any normal person should. I am really afraid of something happening to someone I care about and not being able to tell them how much I care. I am also greatly scared of failing. I have very high expectations for myself.
The first time I ever left my country was to travel to...
The furthest place I've ever traveled to was
The neighborhood I grew up in was mostly made up of middle-class working individuals. I come from a very small town in
Monday, September 1, 2008
What Disney character would you choose?
If I had to pick a disney character, it would probably be Ariel from The Little Mermaid. First, I would be Ariel because I love to swim. I have always loved swimming and everyone always told me I was like a "little fish". Therefore, being a mermaid would be nice.
I would also be like Ariel because Ariel is adventurous and curious. She is curious about humans and ends up falling in love with a human. I feel that I am an adventurous and curious person. I am always wanting to experience new things.
I am also a very passionate person, and Ariel goes to Ursula to trade her voice for legs for three days so that she can win Eric's heart. Ariel is not supposed to be curious about the human race and is so curious and interested in the human race that she ends up falling in love. This is like me. Even if I am not supposed to know something or be interested in something I am.
Therefore, if I had to choose a Disney character I would choose Ariel.
Subscribe to:
Posts (Atom)