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
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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.
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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
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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?