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?
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