Extra Credit (remaining 4)

7. For this extra credit assigment, I located 3 videos on www.youtube.com that related to my project 2 research paper:

http://www.youtube.com/watch?v=cWg6IafmsVc

http://www.youtube.com/watch?v=hKE3NzEwltU

http://www.youtube.com/watch?v=ykd-syzZ4ZY

These three videos deal with the prospects of mass suffering (Virgina Tech), indifference to suffering on a mass scale (comparision between response time by governments, especially hurricane Katrina) and a personal response to a question of indifference towards suffering (Iraning president on Holocaust). From this excercise, I learned how to relate my research paper to actual events in the media, where these issues were raised and also found new events to relate my research to. I think others should do this because it helps to find actual events that can help readers understand the paper better and relate to the topic.

14. For this extra credit assignment, I went onto www.100000monkeys.com and posted the start to my own story by sigining up and adding a snippet. I think this excercise was fun and also educational in a way because now other people could complete the story that I began. It seemed very close to how our lives are changed when we interact with others, even on a small basis. Everyone adds a touch of their own flavor and their own story to our life and in the end, we each have a unique story of our own. I think others should do this because it looks lik a new form of writing and it is also fun to complete someone else's story as well as start your own.

http://www.1000000monkeys.com/snippet.html?branch=12125

8. For this extra credit assignment, I emailed Christoper Vogler and discussed his text, which we used in class for this semester. I was able to analyze the text as an academic resource and then writing a informative email to the author. I think others should do this assignment because it gives them a chance to view their texts as academic scholars and give the author good feedback on their material.

11. For this extra credit assginment, I submitted a peice of my writing (reflective paper from QFM) to the triton newspaper through my email. This assignment was a little stressful because I had to choose a peice that was well written and then revise that piece a lot, before I submitted it. I think others should do this excercise because it provides them with an opportunity to review their writing pieces in much more detail.

DONE!!

Extra Credit (all except four)

1. For this extra credit assignment, I went on www.freerice.com and donated around 1200 grains of rice by doing vocabulary exercises. I was given words and had to choose their correct meaning through multiple definition. I did this extra credit activity before I took the General GRE test and it definitely helped me practice for the verbal section of the test. I also found out that it was easier to break words into relations/words that I already knew, in order to find their correct meaning. I also enjoyed doing this exercise and have done it once every so often since then. I think others should try this out because it is fun and on a serious note, it helps a lot of people around the world, who are dealing with starvation-related issues.

2. For this extra credit assignment, I went on www.smithmag.net/sixwords/ and posted my six-word memoir. The link is given below the post. I basically related this to my personal memoir (project one) and I learnt how difficult it was to shorten my personal story to six words. However, it gave me the opportunity to think about my story as a whole and what it was actually about. I finally realized the underlying meaning behind my story and I think others should do this for the same reason. It really makes you think about your story and analyze it, especially when you have only six words to describe everything.

http://www.smithmag.net/sixwords/story.php?did=42371

3. I know we got a chance to hear some stories on www.npr.org (StoryCorps) during class and I heard one story that really touched me. It was about a family that had to move around during the Great Depression and how they had to leave everything behind. They soon lost all their remaining possessions on the road (too heavy, bartering for gas, etc) and lived in very desperate conditions for a while. It brought the family close together and gave them all hope for a brighter future, which they did eventually have. I come from a family-orientated background and this reminded me of my family back home, who I miss a lot, and all the tough times we faced together. I think others should listen to these stories because they will also be able to relate these stories back to themselves, in one way or the other, and this would help them connect to other people around the world who have shared the same experience.

4. For this extra credit assignment, I went on the Web of Language and read a story about McDonalds trying to get the word McJob out of the dictionary, where it was defined as “low-paying, requiring little skill, and providing little opportunity for advancement”. Many dictionaries refused to take this action because they define words without any judgmental reasons or prejudice. I learnt the power of words and how they can cause a big corporation, such as McDonalds, to have a fear for their reputation. This exercise also made me think how words can affect the behavior of people towards certain objects, such as the word couch potato. I think others should read such stories because it displays the power that any language has and also because some stories are just hilarious.

http://illinois.edu/blog/view?blogId=25&topicId=824&count=1&ACTION=VIEW_TOPIC_DIALOGS&skinId=286

5. For this extra credit assignment, I went to YouTube and watched the following two videos:

http://www.youtube.com/watch?v=m3XxOfjntFA

http://www.youtube.com/watch?v=EP2fBWrH46M

The first video made by a professor? (I think) at the University of Arizona (2005) and takes a very funny view at the different rhetoric that we studied in class (ethos, pathos and logos). Although this video had hand-puppets (hilarious!) and how to use rhetoric to emotionally blackmail your parents (amazinggg!), it was still very informative because I was able to relate it back to our discussions in the classroom. On the other hand, the second video also dealt with rhetoric but in a different manner. The video showed clips of famous movies (such as Men in Black, The Breakfast Club, Monty Python, etc) and asked how the different characters where using rhetoric when trying to persuade other people to ‘get’ their point (i.e. communication!!). For example, Will Smith looks like he used logos (plain old logic) to figure out that he needed to shoot the little girl because everyone else was just going about their business (not much pathos involved as you can see). From this video I learnt to use the information I got from the first video and the class discussions, and apply them to common movies that I on television all the time. I think others should see these videos because they help us relate to daily life situations (video one with the parents) and movies/media (second video) that we enjoy everyday. This exercise relates classroom teachings to real life!!

6. For this extra credit, I went to www.actsofkindness.org and read a story on how someone was given a gift by a stranger at a supermarket store, when they were young, and re-did the same act of kindness for a little girl in the future. This story to me was very inspiring because it showed me how an act of kindness towards someone, can be passed on forward to affect someone else entirely. I decided to help someone with their shopping bags the next time I went to a supermarket because someone helped my mom once, back home in the UAE. I think others should read these stories because even though they are simple in nature, they can portray a lot of kindness and are easily relatable to. These stories can also inspire people, like I was, to carry out a random act of kindness.

http://www.actsofkindness.org/node/476317

For Extra Credits 9 (Halloween) and 10 (Voting), I have already posted up blog entries for these during the term and they should be easily available through the contents tab on the upper right hand corner of this page.

For Extra Credits 12 and 13, I used up all my get-out-of-jail free cards and did not have perfect attendance, so I am doing all the extra credit assignments, in order to get the extra credit. I will be posting up the remaining 4 extra credits up within a day (7, 8, 11 and 14)

Rhetorical Analysis Resubmission 1 (Project 3 Four Modes)

Rhetorical Analysis
Analytical And Persuasive Writing
Project 3 Modes

Rajeev Rupani

1. Movie: Blood Diamond

Blood Diamond. Dir. Edward Zwick. Perf. Leonardo DiCaprio and Djimon
Hounsou. Warner Brothers, 2006.


Blood Diamond, a mainstream-cinema movie directed by Edwark Zwick, portrays violence and suffering caused by the conflict in Sierra Leone over so called ‘blood diamonds’. The story revolves around the individual suffering of a fisherman whose family is taken away from him. The movie also displays the indifference shown by some members of the diamond industry towards the ongoing conflict in that region. The purpose of this movie was to display the actual cost of diamonds, from similar conflict-ridden regions, by showing the massacre and human sacrifices that are a result of this trade. The audience for this movie would have to be between the ages of 16 and above, given the violence shown, and could be of either gender. The movie portrays two different views of suffering: personal and mass-scale. The rhetoric appeals effectively and accurately portray the courage and situation of the people in Sierra Leone, while relating to an individual’s fight to save his family. The ethos appeal is shown by the change of heart in Daniel Archer’s character where he eventually sacrifices his own life in order to save a family from suffering. The archetype of a father is also observed in the fisherman's character, who is constantly fighting the odds to keep his family together. The pathos appeal is shown by the senseless and emotionless massacre of thousands of innocent people over diamonds, families being torn apart, and most of all, the in-action and indifferent attitude of the ‘outer world’ towards the plight of these people. The logos appeal is presented throughout the movie because it is based on events that actually took place. The rhetorical appeals could teach my audience about suffering on a personal and mass-scale (pathos), the difference that one person can make towards easing this suffering (ethos) and how they can relate personally to the suffering that they view around them.

2. Movie: As Good As It Gets

As Good As It Gets. Dir. James L. Brooks. Perf. Jack Nicholson and Helen Hunt. TriStar Pictures,
1997.

As Good As It Gets, directed by James L. Brooks, narrates the story of a person suffering from his indifferent behavior towards other people, and how a moment of caring suddenly changes his perspective on life. The purpose of this movie was to show how a small exposure to suffering could change someone with an indifferent attitude, to become more compassionate. The audience for this movie would have to be 16 and above as well and could be of any gender. A level of acceptance towards homosexuals would be needed to view this movie unbiased. The approach of the rhetoric appeals are important in communicating the purpose of the movie but the simple and relatable plot line further cements these emotions into the viewer. The ethos appeal is shown by the interesting personality of the main character and his attitude towards society, families, love etc. On the other hand the neighbor, who changes the main character’s views on suffering, exhibits a polar opposite personality and the female character (Helen Hunt) plays a medium between these two separate ‘worlds’. The pathos appeal is shown by many forms of personal suffering such as the suffering of the neighbor when his house is robbed, the suffering of the waitress when her child is sick and suffering of the dog (initially) when he is away from his owner. The change of heart in the main character, during his interactions with the dog, is clearly displayed using pathos. The logos is shown by the common indifferent attitude adopted by many people in our present society. This movie could teach my audience about how a relatively small exposure to suffering can greatly change one’s attitude towards other people’s pain. This would also be a great example of how the most indifferent person can be the one to bring about the greatest change, for good, in someone’s suffering.

3. Book: Robinson Crusoe

Defoe, Daniel. Robinson Crusoe. Modern Library, 2001

Robinson Crusoe, written by Daniel Defoe, tells the story of an individual who is marooned on an island away from his family, and befriends a native from the neighboring island. The purpose of this story was to illustrate how personal suffering can be meaningful, through the character of Crusoe, who learns a lot about life, friendship and survival. Given the length of the original novel and the language used, the ideal audience for this novel would have to be about 14 years old or so (minimum), of any gender, and would require reading skills. The rhetorical appeals are in effect after the shipwreck incident, and the pathos appeal of Crusoe’s determination to stay alive is the most successful in communicating the underlying moral of the novel. The ethos is presented through the character of Crusoe, who despairs at first but then adapts and survives in his new surroundings. The determination shown by Crusoe to change his situation gives a sense of purpose to his suffering and makes him a better person in many ways. The pathos is presented in this story through a variety of emotions exhibited by Crusoe such as suffering, despair, determination, loneliness and friendship. The author displays the logos appeal by tackling the theme of being shipwrecked, which was common in those days. This story could teach my audience how meaningless suffering can be overcome using determination as the key. The pathos appeal would be the strongest in empowering my audience into believing that the determination of one individual can alter such situations.

4. Book: Night

Wiesel, Elie. Night. Hill and Wang, 2006.

Night, a story written by Elie Wiesel, is an autobiography of his experiences during the Holocaust period in World War II. Elie, along with his father, was taken away from his mother and sisters (whom he never saw again) and was put into a death camp in Auschwitz. At Auschwitz, he was forced to work in the labor camp and soon lost his father to disease, along with is will to live on. Allied soldiers, who were coming through Germany, rescued him soon after. The purpose of this personal story was to portray extreme forms of suffering and how this can lead to a complete loss of hope in individuals who experience such situations. The audience would have to be at least 18 years old , given the extensive details of the death camps and such, of any gender and would need a strong heart to read this difficult (in content) story. The rhetoric appeals support the sympathy expected from the reader, given the subject of the novel. The pathos appeal is the strongest in portraying the plight and situation of people who had similar experiences during the Holocaust. The ethos appeal is displayed by the author himself, who goes through a lot of emotional and physical suffering that leads to a loss of faith, hope, loved ones and the will to go on. The pathos is evident in the emotional appeal used by the author who experiences a loss of innocence and the willingness to live on, upon encountering such meaningless suffering. The logos appeal is clearly shown as the novel is an autobiography and is thus based on actual events that occurred in author’s life. This personal story could teach my audience how retelling one’s experience of suffering can empower others to be determined in the face of such unimaginable horror. The ethos and pathos combine to bring this empowerment to the reader, while the logos is utilized by allowing the reader to relate to an event that actually took place (Holocaust).

5. Song: Hope (Coach Carter)

Mitchell, Carl T., Fredrick Taylor, and Thomas Calloway. Hope. Coach Carter O.S.T. Capitol,
2005.

Hope, a song from the Coach Carter movie, sings of suffering experienced by the youth of the 21st century. The purpose of this song was to display that hope exists, in many forms, even in dire situations that relate to the youth of today such as, jail, drugs etc. The audience would need to have a specific taste in the genre of rap/hip-hop music, be at least thirteen years old, and of any gender. The rhetoric appeals are used throughout the lyrics and connect well with younger people such as college students, who can relate to these experiences, especially when experiencing a new world of all sorts (college). The ethos is presented in a universal sense, where any listener is the main character to an extent. This rhetorical appeal also displays how some young people take to crime and drugs in the face of unbearable suffering. The pathos appeal is shown in the form of despair, where someone takes the wrong path by giving up hope. The logos is presented by looking at common situations, such as in low income areas, where alternate ways are found to deal with suffering. This song could teach a good segment of my audience - younger college students and such - about how a change is possible even though the wrong choice might have been made initially, and how hope still exists in every situation possible.

6. Artwork

Jackup Sunrise. Jackup Sunrise. 2005. Google Images. Flickr. 15 Nov. 2008.

The photograph, taken by an anonymous individual, captures a typical sunrise off a beach or a coast. The purpose of this photograph could be as simple as to show a sunrise or instill a sense of hope and beauty in the viewer. The audience could be of any age and gender, as long as they view and admire the moment captured. The rhetoric appeals automatically support the image, given the location and subject of the photograph. The ethos appeal is portrayed by the person taking the photograph, who must have experienced a beautiful moment that he or she wanted to share with the rest of the world. The pathos appeal is presented by the sense of peace and new beginnings that are exhibited by the photograph. The logos appeal is shown by the fact that the photograph represents an actual event, and also through the cycle of the sun: darkness is soon followed by light, night by day and so on. This photograph could be used to teach my audience about the cycle of life and how suffering is not without an end because even one ray of hope can eliminate darkness. The audience can also be empowered to build hope, one step at a time, until the balance is restored.

Fiction Readings (Fall Semester)

The most enjoyable reading for me this term was undoubtedly A Good Man Is Hard To Find. I admired the way it was written, where the writing led the reader to believe that the story was going to have another 'happy ending'. The gruesome events that took place shocked me as a reader and bought me back to real life, where results like that are commonly observed. The execution of the family sent shivers down my spine because the author implied that the family was killed instead of describing it (screams instead of bodies). Above all that, the character of the Misfit and the old grandma were really well written and I could relate to their complexities as a human being. The story was bought to life in my imagination, where I could 'see' every scene and dialogue happening right in front of me.

The rest of the readings were also applicable to our course because I believe they related to the common theme of reality. The Metamorphosis, The Offshore Pirate, The Bell Jar, The White Tigers, The Shadow and the Wind,On the Road and Indian Camp, all told stories of real people or individuals coming to terms with reality. I found all of these excerpts/stories to be interesting but the above tale appealed to me the most. I really enjoyed reading all the above stories and even though some of them were tough to read (emotionally), I believe the idea behind them was to affect the reader in such a manner.

Project 3: Reflection/Action

What I have done:

1. Rhetoric Analysis.
2. Volunteer Log.
3. Found person for interview.
4. Began designing poster for presentation.

Why/How:

I think all the work I have done so far on Project 3 relates well to my topic of suffering and hope, especially the rhetoric analysis. The volunteering catered well to my newly added hope section for Project 3 and the interview will hopefully combine both the topics of my presentation, providing a real-life story that the viewers can relate to.

Plan of Action:

1. Do interview.
2. Finish poster presentation.
3. Do 'trial' runs with friends and get feedback.
4. Make flyers/hand-outs for presentation day.

Volunteer Log (Project 3)

Project Three Volunteer Log
Eckerd College
Rajeev Rupani


Name of Organization: Southeastern Guide Dogs


Location of Organization: 4210 77th Street East, Palmetto, FL 34221
(941.729.5665)


Volunteer Opportunity: I had the opportunity (through Quest For Meaning) to work with training and looking after guide dogs as well as young puppies, on regular weekends since September.


Review of Volunteering:

What did you do?

I assisted with making puppy food, cleaning kennels, walking and running puppies/dogs, cleaning play areas/yards, doing laundry, cleaning dishes and making bedding for moms (in nursery). I pretty much assisted (along with my QFM group) in taking care of the dogs/puppies over the weekend, when the regular staff was off duty.

When did you do it?

I went on weekends, alternating between Saturdays and Sundays, spending a total of forty hours this semester (four hours per weekend or more). I began in early September and will be going till the weekend before Thanksgiving.

What did you learn?

I learnt a lot about taking care of young puppies and adult dogs, during my volunteer experience there. I also observed how these trained guide dogs needed much work behind the scenes that would train them in assisting visually impaired individuals. I also saw how these guide dogs gave hope for people suffering from loss of visual abilities, to lead a dignified and independent life.

What are your future plans?

I plan on continuing to volunteer there for the rest of the year as it gives me a good break away from school and I feel like I have contributed something back to the community.

Artwork (Project 3 Modes) (new)

Rhetorical Analysis (Project 3)

Rhetorical Analysis

Analytical And Persuasive Writing
Project 3 Modes

Rajeev Rupani

1. Movie: Blood Diamond

Blood Diamond. Dir. Edward Zwick. Perf. Leonardo DiCaprio and Djimon
     Hounsou. Warner Brothers, 2006.

  
    Blood Diamond, a mainstream-cinema movie directed by Edwark Zwick, portrays the violence and suffering caused by the conflict in Sierra Leone over so called ‘blood diamonds’. The story revolves around the individual suffering of a fisherman whose family is taken away from him and displays the indifference shown by some members of the diamond industry, towards the ongoing conflict in the region. The purpose of this movie was to display the actual cost of diamonds from similar conflict-ridden regions, by showing the massacre and human sacrifices that are a result of this trade. The audience for this movie would have to be between the ages of 16 and above, given the violence shown, and could be of either gender. The movie portrays two different views of suffering: personal and mass-scale. The rhetoric appeals effectively and accurately portray the courage and situation of the people in Sierra Leone, while relating to an individual’s fight to save his family. The ethos appeal is shown by the change of heart in Daniel Archer’s character, where he eventually sacrifices his own life in order to save a family from suffering. The archetype of a father is also observed in the fisherman, who is constantly fighting the odds to keep his family together. The pathos appeal is shown by the sensless and emotionless massacre of thousands of innocent people over diamonds, families being torn apart in this conflict and most of all, the in-action and indifferent attitude of the ‘outer world’ towards the plight of these people. The logos appeal is presented throughout this movie because it was based on an event that actually took place. The rhetorical appeals could teach my audience about suffering on a personal and mass-scale (pathos), the difference that one person can make towards easing this suffering (ethos) and how they can relate personally to the suffering that they view around them.

2. Movie: As Good As It Gets

As Good As It Gets. Dir. James L. Brooks. Perf. Jack Nicholson and Helen Hunt.

    TriStar Pictures, 1997.

     As Good As It Gets, directed by James L. Brooks, narrates the story of a person suffering from his indifferent behavior towards other people and how a moment of caring suddenly changes his perspective on life. The purpose of this movie was to show how a small exposure to suffering could change someone, with an indifferent attitude towards suffering, to become more compassionate. The audience for this movie would have to be 16 and above as well, of any gender but a level of acceptance towards homosexuals would be needed to view this movie unbiased. The approach of the rhetoric appeals are important in communicating the purpose of the movie to the reader but the simple and relatable plotline further cements the emotions into the viewer. The ethos appeal is shown by the interesting personality of the main character and his attitude towards society, families, love etc. On the other hand, the neighbor (who changes the main character’s views on suffering) exhibits a polar opposite personality and the female character (Helen Hunt) plays a medium between these two separate ‘worlds’. The pathos appeal is shown by many forms of personal suffering such as the suffering of the neighbour when his house is robbed, the suffering of the waitress when her child is sick and suffering of the dog (initially) when he is away from his owner. The change of heart in the main character, during his interactions with the dog, is clearly displayed using pathos. The logos is shown by the common indifferent attitude adopted by many people in our present society. This movie could teach my audience about how a relatively small exposure to suffering can greatly change one’s attitude towards other people’s pain and how the most indifferent person can be the one to bring about the greatest change (for good) in someone’s suffering.

3. Book: Robinson Crusoe

Defoe, Daniel. Robinson Crusoe. Modern Library, 2001

    Robinson Crusoe, written by Daniel Defoe, tells the story of an individual who is marooned on an island away from his family and befriends a native from the neighboring island. The purpose of this story was to illustrate why personal suffering can be meaningful, through the character of Crusoe, who learns a lot about life, friendship and survival. Given the length of the original novel and the language used, the ideal audience for this novel would have to be about 14 years old or so (minimum), of any gender and would require reading skills. The rhetorical appeals are effective after the shipwreck incident and the pathos appeal of Crusoe’s determination to stay alive is the most successful in communicating the underlying moral of the novel. The ethos is presented through the character of Crusoe, who despairs at first but then adapts and survives in his current surroundings. The determination shown by Crusoe to change his situation gives a sense of purpose to his suffering and makes him a better person in many ways. The pathos is presented in this story through a variety of emotions exhibited by Crusoe such as suffering, despair, determination, loneliness and friendship. The author displays the logos appeal by tackling the theme of being shipwrecked, which was common in those days. This story could teach my audience how suffering without any meaning can indeed be changed and determination is the key to addressing such meaningless suffering. The pathos appeal would be the strongest in empowering my audience into believing that the determination of one individual can alter such situations.

4. Book: Night

Wiesel, Elie. Night. Hill and Wang, 2006.

    Night, a story written by Elie Wiesel, is an autobiography of his experiences during the Holocaust period in World War II. Elie, along with his father, was taken away from his mother and sisters (whom he never saw again) and was put into a death camp in Auschwitz. At Auschwitz, he was forced to work in the labor camp and soon lost his father to disease, along with is will to live on. Allied soldiers, who were coming through Germany, rescued him soon after. The purpose of this personal story was to portray extreme forms of suffering and how this can lead to a complete loss of hope in individuals who experience such situations. The audience would have to be at least 18 years old , given the extensive details of the death camps and such, of any gender and would need a strong heart to read this difficult (in content) story. The rhetoric appeals support the sympathy expected from the reader, given the subject of the novel. The pathos appeal is the strongest in portraying the plight and situation of people who had similar experiences with the Holocaust. The ethos appeal is shown by the author, who goes through a lot of emotional and physical suffering that leads to a loss of faith, hope, loved ones and the will to go on. The pathos is evident in the emotional appeal used by the author, where the author experiences a loss of innocence and willingness to live on, upon encountering such meaningless suffering. The logos appeal is clearly shown as the novel is an autobiography and is thus based on actual events that occurred in author’s life. This personal story could teach my audience how retelling one’s experience of suffering can empower others to be determined in the face of such unimaginable horror. The ethos and pathos combine to bring this empowerment to the reader, while the logos is utilized relating this actual event (Holocaust) to the reader.

5. Song: Hope (Coach Carter)

Mitchell, Carl T., Fredrick Taylor, and Thomas Calloway. Hope. Coach Carter

    O.S.T. Capitol, 2005.

    Hope, a song related to the Coach Carter movie, sings of suffering experienced by the youth of the 21st century. The purpose of this song was to display that hope exists, in many forms, even in dire situations that relate to the youth of today such as, jail, drugs etc. The audience would need to have a specific taste in the genre of rap/hip-hop music, be at least thirteen years old and of any gender. The rhetoric appeals are used throughout the lyrics and connect well with younger people such as college students, who can relate these experiences to themselves especially when they are experiencing a new world of all sorts (college). The ethos is presented in a universal sense, where any listener is the main character to an extent and how some young people take to crime and drugs in the face of unbearable suffering. The pathos appeal is shown to be despair where someone takes the wrong path by giving up. The logos is presented by looking at common situations, such as in low income areas, where alternate ways are found to deal with suffering. This song could teach a good segment of my audience, younger college students and such, about how a change is possible even though the wrong choice might have been made initially and how hope still exists in every situation possible.

6. Artwork (changed not similar to previous posting of four modes-> see above post for artwork)

Jackup Sunrise. Jackup Sunrise. 2005. Google Images. Flickr. 15 Nov. 2008 . .

    The artwork above, taken by an anonymous individual, captures a typical sunrise off a beach or coast. The purpose of this photograph could be as simple as to show a sunrise or to instill a sense of hope and beauty in the viewer. The audience could be of any age and gender, as long as they view and admire the moment. The rhetoric appeals automatically support the image, given the location and subject of the photograph. The ethos appeal is shown by the person taking the photograph, who must have experienced a beautiful moment that he or she wasn’t to share with the rest of the world. The pathos appeal is presented by the sense of peace and new beginnings that is exhibited by the photograph. The logos appeal is shown by the fact that the photograph must represent an actual event and also through the cycle of the sun: darkness is soon followed by light, night by day and so on. This photograph could be used to teach my audience about the cycle of life and how suffering is not without an end because even one ray of hope can eliminate darkness. The audience can also be empowered to build hope, one step at a time, until the balance is restored.

Vogler Annotation (p.293 - 312)

Analytical and Persuasive Writing
Annotated Bibliography
Vogler (p.293 – 312)
Rajeev Rupani

Vogler, Christopher. The Writer's Journey (Mythic Structure for Writers). 3rd ed. Studio City, CA: Michael Wiese Productions, 2007. 293-312.

Summary:

    Vogler discusses the Writer’s Journey and the concept of stories being “alive” as well as “responding to human emotions”. Vogler connects the Hero’s Journey and the Writer’s Journey by listing out similar stages that are followed by the writer when “setting out to write a story”. Following this, Vogler describes the art of writing as “magic” by relating spelling words to “magical symbols” and by explaining that “words have power to hurt or heal”. Using this latter concept, the connection and similarities between writers and shamans are discussed. Finally, the concepts of “solitude” and “traveling to another world” are shown to be necessary for the writer, in order to answer the “ageless” questions of the reader.

    Vogler provides a brief account of his first encounter with Disney (in the 1980s) before making several propositions, the most important of which is that “stories are somehow alive, conscious, and responsive to human emotions and wishes”. The idea of stories inducing a “change” in the reader is then described and the underlying concepts behind the story of “Rumpelstiltskin” are then discussed. Vogler connects the assumptions associated with the “faerie folk” to several points in the story, such as the want for the human child and the attraction towards human emotions. This then leads to the “power of wishing” idea, where Vogler probes wishing as being “an underlying principle of storytelling” and the “orientation” of the audience. Vogler points out that the wish of the hero is often granted but also in a way “that teaches the hero a lesson about life”. This leads into the confusion of the hero (initially) between “wants” and “needs” and how the lesson of a story is often presented in the “NOBA” (Not Only..But Also) format. Vogler then proceeds to discuss how the audience can relate with hero’s sympathetic situation and adopt his/her “wishes” by identifying them as their own. Vogler concludes this section by explaining the evolution of a character (in a story) from wishing to “willing” and how this action can have pros and cons as well. The wishing and willing states are described as “important tools for story-tellers and necessary stages for everyone’s development.”

Reaction:

    Vogler makes a very essential connection between the writer and the hero, which has been hinted at throughout the text. By stating that the “boundaries of space and time and even the limitations of death can be transcended”, Vogler puts forth the image of writers having some sort of godly powers. As an avid reader, I do believe part of this to be true but the journey made by the reader (while reading the story) should also be credited to their imagination. On the other hand, the discussion of writers as shamans was a very interesting one because I had not thought of such a connection before. A few stories provide underlying answers to some of life’s difficult questions or provide a path to finding such answers. The conclusion chapter, where Vogler provides the proposition of stories being “alive”, was a great read. I have been influenced by several stories without even knowing the effect that they have had upon my choices in life. Looking back at such influences, it was not hard to imagine stories being alive and breathing entities in themselves. I recalled my experiences from wishing to willing when I began my memoir project and understood the emphasis of these “tools”, when relating to the audience. I hope to have developed into a better writer by the end of this course and Vogler’s so-called “guide” will also be a useful “tool” to me when I encounter my hero’s journeys throughout life.

Questions:

1. Did the reading of this text affect your decisions throughout this term? If so, how?

2. What was one story/novel that you felt was “alive” and influenced or changed you in some manner?

3. How do you perceive Vogler’s connections between the writer, hero and audience? Do you approve or disapprove of them?

Vogler Annotation (p,230 - 290)

I did read the chapter, which was interesting, but did not have time to write up the annotation. Hence:

GET OUT OF JAIL FREE CARD (None Left After This)

Four Modes for Project 3

• Songs:

1. Hope: Faith Evans and Twista (Lyrics, Video)
2. How Will I Know - The Clouds Project (Link)

• Movies:

                                   

• Novels (Fiction):

1. Robinson Crusoe (Daniel Defoe)
2. Night (Elie Wiesel)

• Art Work:

                                                              

Voting in India

Since I was not able to vote in the recent US Presidential Elections (Go OBAMA!! btw) I decided to look up the procedure on how I would vote in the Indian Parliamentary Elections (to choose the Prime Minister and such). I found out, to my amazement, that I could NOT vote while I was not present in India. Since I am a Non-Resident Indian (NRI), I can only vote if I am physically present in India. However, many NRIs have objected to this rule and some work is being done to revise it so we can also have an 'absentee' vote, like the United States does. I will hopefully be able to vote in the next Indian elections but till then:

GO OBAMA!!

Tuesday Nov 4th Peer Review

My peer was able to read through my draft and give some important comments and suggestions by the end of class. He commented that I had many great ideas but I was cramming them one after another in my research paper. He suggested that I expand and discuss a few of these ideas in detail and maybe split paragraphs (from one to two) in some areas of my paper. He also commented that I had a very strong introduction paragraph and the conclusion could be better if I could further connect it with some critical examples that I referred to in the paper (or ideas that I had not developed). He noticed my missing refutation paragraph and suggested that I include some positive responses to human suffering as well. He also suggested that I use a quote to finish my paper (in the conclusion) which would make an impact on my reader and get the main ideas across. Overall, he liked the premise of my paper but suggested a few critical but good changes that would only make its impact on the reader stronger.

Vogler Annotation p.197-228

Get out of jail free card used (1 remaining)

Halloween and Vogler

I was a Viking Barbarian Warrior for this Halloween and represented a Shadow-Threshold Guardian. In the hero's journey, as discussed by Vogler, my main goal would be to provide a physical (rather than a mental) test for the hero so that he/she can test her strength at a particular stage. I would be a recurring Threshold Guardian with the underlying and unknown agenda of helping the hero gain experience. I would also be a hero undertaking my own journey but with completely different motives, which would involve putting the hero in harm's way for my own good. This sort of Threshold Guardian would also be a typical Shadow that the hero would finally have to vanquish at the end, in order to obtain the Reward and return home. I would also represent the hero's darkest fears, which they avoid until the last possible moment, and would then have to face in a life-and-death situation. 

One Good Paragraph: The Bell Jar

The Bell Jar seems to be centered around Esther's character but relates the journey of several characters, simultaneously. The characters of Joan, Irwin and Buddy play brief yet vital roles in shaping Esther's character/life, while they are on their own respective hero's journeys. Joan is implied to have been Esther's roommate/closest friend at the asylum and encounters a tragic suicidal end to her hero's journey. However, her death (end of journey) brings about a new beginning for Esther in a way, where Esther wonders what she was 'burying' and this could well be her past. Irwin and Buddy interject in Esther's journey as romantic interests but leave her soon and continue with their own journey's. Irwin's journey ends with the dis-identification of his voice where it meant 'nothing more' to Esther. On the other hand, Buddy's journey can be argued to have literally come to an end, in Esther's perspective, right outside her front door. Both these encounters encourage Esther to re-think her choices/priorities in life and she decides that she is not 'getting married. The encounter with Joan, Irwin and Buddy's characters clearly influence Esther's own journey, encourage her to let go of her past and look towards a possible future. Plath clearly emphasizes on the underlying importance of these 'other' hero's journeys by displaying the aftereffects of these encounters, on Esther's own journey.

Vogler Annotation (p.175 - p.193)

Analytical and Persuasive Writing
Annotated Bibliography
Vogler (p.175 – 193)
Rajeev Rupani

Vogler, Christopher. The Writer's Journey (Mythic Structure for Writers). 3rd ed. Studio City, CA: Michael Wiese Productions, 2007. 175-193.

Summary:

The reading involved discussing two stages in the hero’s journey that were a result of the Ordeal’s aftermath: Reward and The Road Back. Vogler describes the Reward as the ‘consequences of surviving death’, weather it be good or bad. The typical campfire scene, relating to the celebration, can be used to review the Ordeal, distributing the rewards or just reflect over the near-death experience. However, it can also be an ideal time for a bonding or lovemaking scene (‘sacred marriage’) for the hero’s romantic journey. The main idea here, as suggested by Vogler, is taking possession of the reward or ‘seizing the sword’, where the hero takes possession of the object that was being sought. This hero does not always have the reward handed to him but might have to take it by force and in this case, the motif is called ‘elixir theft’. Vogler defines this elixir as a ‘medium or vehicle for medicine’ and describes how the hero is often required to steal this from the Shadow, as it is of great value. Another common factor of the reward is the initiation where the hero is recognized by society as ‘special and different’ because they now posses abilities such as new perceptions (new powers), better sense of deception, clairvoyance and even maybe self-realization of who they are. Furthermore, the hero themselves can realize their true potential through an epiphany-like event. Vogler ends this chapter by discussing the distortions that the hero might go through at this stage such as inflation of the ego, tainting by death or evil, intoxication by power and denial of grief.

During the Road Back stage the hero faces an important choice of ‘whether to remain in the Special World or begin the journey home to the Ordinary World. Vogler emphasizes that most heroes take the road back to their homelands and then discusses the psychological aspect behind the hero’s resolve to ‘implement the lessons learnt in the Special World’. Vogler then moves on to describe the motivation that helps the heroes re-dedicate themselves to the adventure that lies ahead: ‘another moment of crisis’. The Road Back could involve retaliation from previous unfinished opponents, some chase scenes with pursuits from opponents and admirers and a possible magic flight (to escape from chasers). However, as Vogler discusses, the villain character can escape at this stage to return as a dangerous threat to the hero’s adventure. This can be one of the many ‘setbacks’ that the hero can encounter and Vogler returns to the Delayed Crisis approach discussed previously, to end the chapter.


Reaction:

I thoroughly enjoyed the reading because I was able to relate many of these concepts to the events that I had either read in novels or seen in movies. I completely agreed with the aspects of both the stages that Vogler discussed in the reading. For example, the character of Frodo Baggins in the Lord of The Rings Trilogy goes through these two stages where he tries to discover himself again but has to return to the Special World (where he belongs). Similarly, many concepts of the reading connected to my memoir project as well. All in all, I felt that the two stages were clearly explained and represented the after-effects of the hero’s ordeal.

Questions:

1. Have you seen in examples of the elixir theft motif in any stories or novels? Why does the hero usually resort to stealing the elixir and for whom?

2. Do we reach a point of self-realization in our lives or do we have multiple events that cause this?

3. What were the aspects of your Road Back in your memoir project? How do they relate to Vogler's theory?

Vogler Annotation (p.143-173)

Analytical and Persuasive Writing
Annotated Bibliography
Vogler (p.143 – 173)
Rajeev Rupani

Vogler, Christopher. The Writer's Journey (Mythic Structure for Writers). 3rd ed. Studio City, CA: Michael Wiese Productions, 2007. 143-173.

Summary:

In this reading, Vogler discusses two very important stages in the hero’s journey: Approach to the Inmost Cave and the Ordeal. Vogler describes this stage of the hero’s journey as a time to make ‘final preparations for the central ordeal of the adventure’. The main function of this stage is to prepare the hero or the team to begin the ordeal and to be well prepared to do so. However for a journey that involves romance, this can be a time for bonding or courtship to take place between the hero and their lover. Given these two functions, Vogler then moves on to discussing different styles of approaching this ‘inmost cave’. In this context, the inmost cave is the entrance to the chamber of the final ordeal. The hero can have a ‘bold’ approach if they are confident enough and can also go in guns blazing if self-sacrifice, on behalf of the team, is needed. Vogler then moves on to discussing an example of where an ‘ignorant’ approach can put the hero and the team’s lives at stake. Vogler then utilizes Dorothy’s story of approaching the Emerald City, as a guide to further developing the functions of this stage. Therefore, rest of the chapter provides a list of do’s and don’ts for the hero such as: avoiding seduction by illusions, applying past experiences to present problems, being prepared to the fullest extent, being aware of danger through humility, providing credentials when necessary and so on. Once Vogler has presented this guide to approaching the inmost cave, he discusses the change of archetype masks when this stage is reached. The role of the hero is shown to be relative to the situation at this point: for example, the lion is ‘required’ to lead the team and rescue Dorothy even though he is a coward. Vogler finishes the chapter with setting up the final unavoidable ‘life-and-death’ situation that the hero(es) must face: better known as the Ordeal stage.

The Ordeal consists of the hero (or the team) ‘facing the greatest challenge and the most fearsome opponent yet’. Vogler states the cardinal secret of this vital stage as being the death and rebirth of the hero, given that most audiences would enjoy this ‘main test of being a hero’. However, the rebirth does not mean that the hero comes back unchanged: change is always involved given the near-death experience of the hero. Following this, Vogler defines the Ordeal as the ‘crisis’ (not ‘climax’) point in the journey, where every situation and aspect is at its worst state against the hero. He then discusses the importance of a central crisis, compared to a delayed crisis and how the latter approach allows for ‘a slow buildup to a big moment’. Vogler then discusses the various aspects of the Ordeal stage and its relations to the death-and-rebirth cycle, such as: the importance of a witness to the hero’s sacrifice, the importance of a brush with death, the elasticity of emotion within the audience (its reaction), the relative association of the audience with the hero and so on.

Vogler also spends a good portion of the chapter, towards the end, analyzing the source and role of the ‘villain’ character. The villain character is derived from the Shadow archetype and represents the negative projection of the hero in a human form. Vogler emphasizes that the death of the villain cannot be ‘too easy’ for the hero and should represent some form of reality. Vogler then identifies the villain as a hero of his or her own story and stresses the importance of walking through the story in ‘the Shadow’s skin’. Vogler then discusses the importance behind the hero cheating death and how this can often be related to the ‘power of love’. He then describes that the Ordeal can also be related to a ‘crisis of the heart’ and the sacred marriage of balancing the hero’s ‘inner forces’. The femme-fatale villain archetype is briefly discussed and Vogler ends the chapter with the different ‘fears’ that a hero might face during the Ordeal: standing up to a parent and conquering one’s own ego. The main purpose of this stage is to allow the hero to face death, be reborn and come back a changed and better individual.

Reaction:

I thoroughly enjoyed reading these two chapters because I could associate a lot of stories and movies to each aspect of the stages presented by Vogler. For the Approach to Inmost Cave, I felt that the do’s and don’t guide presented by Vogler, for the hero, applied to my personal college experience as well. For me, the Ordeal is the real world that I am about to face upon graduation and the Inmost Cave (or college), is the path of ‘final preparation’ that I have to follow. For example, the advice of not being ‘seduced’ by illusions can refer to the diversions that I often faced as a student at Eckerd. Another example could be relating the ‘being prepared’ advice, to showing up to class without reading or completing a Vogler annotation and then being asked to lead the discussion that particular day. A final example could be seen where the usage of past experiences to present situations, can be related to knowing a meaning of a vocabulary word on the GRE because you have read it in a novel previously. I also felt that this particular stage could be related to a warm-up game for the hero, before the final opponent is faced. The ‘dramatic complications’ discussed by Vogler, can also be related to turning point moments in a memoir. I agreed with every aspect of Vogler’s discussion on this stage and the example of Dorothy’s journey, into the Emerald City, played a significant part in this understanding.

I felt that the Ordeal stage revolved around the death and rebirth concept, which to me was not entirely new because of the Hindu belief of re-incarnation. However, I also think that this cycle might be a emotionally or personality-related one, rather than an actual physical change. The hero comes back a ‘changed’ individual and that is where I think the rebirth is emphasized. I also noticed a hint of religious analogy with Vogler’s discussion of this cycle. The crucifixion and resurrection of Jesus Christ can be easily compared to this cycle, which led me to think that this event could have been the source of this discussion. Also, who better to portray the first hero to undergo death-and-rebirth than a martyr like Christ? Even though Vogler gave a very good difference between the crisis and the climax of a storyline, I believe that audiences often have it confused because the movies nowadays portray a very fine line between them. The mainstream cinema nowadays is geared towards a delayed crisis or a climax, such as the final confrontation between the hero and the villain. I did not agree with Vogler entirely on the usage of rebirth after the hero’s death. If used excessively this can create a cliché experience for the audience, where they can predict and be indifferent because they know that the hero is not ‘really’ dead. I believe that this is the reason for unorthodox movie endings prevailing in our cinema nowadays. For example, we expected Batman to save the love of his life but instead he chooses to save Harvey Dent for the ‘greater good’ of Gotham city.

I was also really impressed by Vogler’s description of the audience-identification with the heroes, which is a crucial tool for any writer. The demonization of the villain can also be seen as the combination of the dark desired and deeds that we chose not to follow, in order to become better human beings. However, this does not mean that the villain is not a unique character in itself. I would think that a good writer would portray the villain as ‘the hero’s Shadow in human form’ but also give them their unique personality flair (ex. Joker in Dark Knight). The two stages discussed above allow the audience to relate personally to the hero, now that ‘they’ have faced death together, as a team, and have survived to continue their journey onwards.

Questions:

1)How could you apply Vogler’s guide to a hero’s journey, through the inmost cave, to your own personal experience?
2)How would you describe your shadow, physically or mentally, using Vogler’s demonization analysis?
3)What would you use as an example to differentiate between a crisis point in the story and the climax? Why do you think they are often confused or interchanged?

Vogler Annotation (p.127-141)

Analytical and Persuasive Writing
Annotated Bibliography
Vogler (p.127 – 141)
Rajeev Rupani

Vogler, Christopher. The Writer's Journey (Mythic Structure for Writers). 3rd ed. Studio City, CA: Michael Wiese Productions, 2007. 127-141.

Summary:

Vogler proceeds to discuss the fifth and sixth stages of the Hero’s journey in this reading. He describes the Crossing of the First Threshold as ‘an act of the will in which the hero commits wholeheartedly to the adventure’. Vogler then discusses how this ‘act of will’ is usually brought about by an external force or happens during the ‘turning point’ of the story, where the Villain archetype is involved. The Threshold Guardian archetype is then re-introduced and discussed in detail, with Vogler outlining its primary purpose as a ‘test’ in the ‘training of any hero’. Vogler then implies the Crossing as being the ‘border of the two worlds’: the Ordinary World and the Special World. The act of crossing the First Threshold is referred to as a ‘leap of faith’ by Vogler, from which there is no turning back. This leap does not always lead to a soft landing for the Hero as they ‘may crash in the other world, literally or figuratively’. After the Hero has entered the Special World of adventure, Vogler discusses this initial period of ‘adjustment’ in the sixth stage of the journey: Tests, Allies and Enemies.

When the Hero enters the Special World, he or she is a ‘freshmen’ in this new world according to Vogler. The writers test the Hero and prepare them for ‘greater ordeals’ in the future, through the Special World. Another important function of the sixth stage, as described by Vogler, is for the hero to make Allies and Enemies. Through the discussion of these two character types Vogler implies that these meetings test’s whether the ‘hero is a good judge of character’. An Ally can be a circumstantial assistant or a general helper (known as the ‘sidekick’) and can also provide comical relief for the audience when needed. The Enemy character-type can perform the function of the Shadow, the Trickster, the Threshold Guardian and the Herald, as long as they create obstacles for the Hero in this Special World. The Rival is described by Vogler as a special type of Enemy who competes with the Hero in every aspect. Once the Hero has learnt the ‘new rules of the Special World’, he or she often heads to the ‘watering hole’ (a common area) to find companions for crossing through, getting information or acquiring a love interest. The basic purpose of this stage is to introduce the audience to the new characters involved in the Hero’s journey (Allies and Enemies) and provide a platform for the characters to get ‘acquainted’ with one another.

Reaction:

I really enjoyed reading the discussion that Vogler presented on the above two stages of the Hero’s journey. I could personally relate to the description of the Crossing of the First Threshold because of similar elements within my memoir. The discussion of the Hero being ‘pushed over the brink’ in order to begin the adventure (by the Villain) can often be related to the extreme problems that I faced in high school, due to my stammering, which led to my visitations with a speech therapist. This can also be related to the struggle of the common man against extreme problems that can often force someone into a violent criminal act, in which case the adventure can actually harm others (basically a ‘do or die’ situation). I was able to understand most of the concepts put forth by Vogler, within this reading because he referred to many of the archetypes that we had already discussed in previous chapters and in the classroom (as done before). The analogy of the ‘Rough Landing’ of the hero into the Special World can be literally seen in the movie Cast Away and the disorientation of the passage can be associated with the Hero experiencing too quick of a change in his/her surrounding. For example, the nauseous feeling associated with a roller-coaster ride often comes from the person being subjected to various different surrounding too quickly.

I did not have much to react to or to differ with for the next stage discussed by Vogler: Tests, Allies and Enemies. I pretty much agreed with his ideas and did discover one stereotype that could be associated with the ‘Watering Hole’ concept. I have often seen this bar scene in many male-orientated movie, where the Hero often picks fight with some ‘bad’ guy (can turn out to be introduction of Enemy) and unintentionally gets cast into the limelight. This can be associated with the alpha male stereotype of establishing dominance over the other males or introducing himself to the Special World with a ‘bang’ (as done in most Western movies). These two stages are very important in the Hero’s journey because they display the first few ‘baby steps’ that the Hero takes into (and within) this Special World and allow the audience to undergo a period of adjustment to their new surroundings, along with the Hero.

Questions:

1. What other good analogies can be used to relate the Crossing of the First Threshold, to our real life (other than the one given in Vogler)?

2. Why would Vogler describe the ‘passage to the Special World’ (p.130) as ‘frustrating’ for the hero? In what context would this statement make sense?

3. Why do you think the ‘watering hole’ concept is so evidently portrayed in most of our movies and novels today?

Vogler Annotation (p.107-125)

Analytical and Persuasive Writing
Annotated Bibliography
Vogler (p.107 – 125)
Rajeev Rupani

Vogler, Christopher. The Writer's Journey (Mythic Structure for Writers). 3rd ed. Studio City, CA: Michael Wiese Productions, 2007. 107-125.

Summary:

This reading discusses the third and the fourth stages of the Hero’s journey: the Refusal of the Call and the Meeting with the Mentor. Vogler describes the predicament of most Heroes, when they are chosen to respond to the Call to Adventure, by stating that they stand at a ‘threshold of fear’ that commonly leads to an initial refusal to the adventure. The quest can then be carefully ‘examined’ by the Hero, who can weigh the objectives against the risk of their own lives. Vogler then goes on to give the main reason why a Hero would initially avoid the Call to Adventure: past experiences with adventures that have made him or her ‘sadder but wiser’ by losing something important. However, constant refusal of the call can lead to a disastrous ending for the Hero (important identification for the tragic Hero archetype). Vogler then discusses how a refusal can be positive when the Call involves a ‘temptation to evil’ by the Shadow/Villain archetype or when the Hero is seen as an Artist, who usually ‘withdraws from the world’ in order to study its artistic nature. The Threshold Guardian archetype is re-introduced here to test the Hero once they have surpassed their fear, by ‘questioning the Hero’s very worthiness’ of pursuing the adventure. Vogler describes this testing process as being appealing to the audience who are curious to see if the Hero will rise to the given challenge or not. The chapter ends with a discussion of how Heroes normally ‘violate limits’ put in place by Threshold Guardians or Mentors, representing the all-curious aspect of human beings.

Vogler states lack of preparedness as another reason for the Refusal, which then leads to discussing the fourth stage of the Hero’s journey: Meeting with the Mentor. The Mentor serves as a protective figure to the Hero at this point and provides many services to prepare the Hero for the ‘unknown’, such as ‘protecting, guiding, teaching, testing, training and providing magical gifts’. Vogler describes this ‘contact with wisdom’ as an essential aspect of any story, which can lead to enriching relationship between the Hero and the Mentor that is often enjoyed by the audience. Vogler then discusses the story of the ‘prototype mentor’, Chiron, to show how Mentors can be connected to the ‘world of the spirit’ and usually receive great regard and distinction from any society (like the Greeks in this case). The origins of the term ‘Mentor’ are re-discussed in detail by describing the character in the Odyssey who had this particular name. The importance of the Mentor archetype and its main goal of getting the ‘story rolling’ are described in the Odyssey and in general, by Vogler. However, Vogler directs writers to avoid the archetype of the Mentor (or clichés) by misdirecting the audience or creating some conflict between the Hero and the Mentor, where the former is betrayed or disappointed by the latter. The concept of a Mentor-driven story and the origin of the Mentor as the ‘evolved hero’ are then discussed, followed by the importance of Mentors in getting ‘the story past the blockades of doubt and fear’. Vogler finishes the chapter by creating an analogy where the writer can ‘seek the help’ of the Mentor, as the Hero, to move the story forward by bringing ‘new’ energy to the adventure.

Reaction:

I was able to connect with both these aspects of the hero’s journey easily, as in the previous reading, because of the inclusion of several common archetypes discussed before. Many of the concepts in both these chapters were previously described or discussed in other chapters, which made it easier to understand their ‘actual’ meaning within the context of the Hero’s journey. The Refusal of the Call is a common predicament that most people face, in different regions of their life. For example: in college students, the risk of exposing vulnerability to another person through dating (especially after a bad relationship) is usually avoided at first glance given the past experience. The constant Refusal of the Call can also lead to a different sort of tragedy occurring in real life: self-disappointment and rue for not changing for the ‘better’ when a chance was presented. The college analogy (discussed in class) is also observed in the first chapter where the ‘clinging’ of the Ordinary World can be observed in our parents, when we try to leave our home (Ordinary World). I agreed with most of Vogler’s ideas and could especially understand the idea behind the Threshold Guardian tests, which gives the audience an ideal environment to understand the hero’s character: their strengths and weaknesses, which can often relate to their universal human side.

The advice and preparation, provided by the Mentor archetype, can be easily related to the ‘real-world advice’, provided by our parents before we set sail for college. If the advice is not given directly then it is observed and learnt through the actions of our parents, within their social community. This in turn can be related to the ‘evolved hero’ concept that Vogler discusses within this particular chapter. Even though the times might be different, our parents have usually experienced the various stages of growing up and can provide helpful advice when needed. The same analogy can also be applied to our professors, who were students at one point and then gained enough experience ‘to teach others’. Most of the other ideas expressed in this chapter can be applied to the above analogy, or to any person/being that we view as a mentor in our lives. On a lighter note, the idea of God communicating through ‘the filter of other people’ reminded me of Alan Rickman’s character (voice of God) in Dogma. The two stages discussed provide an opportunity for the audience to learn more about the actual character of the Hero and to experience the rich relationship between the Hero and the Mentor.

Questions:

1. Does the persistent Refusal of the Call always end in a tragedy for the hero? Is there any basis for Positive Refusal in real life?

2. Why do you think the audience enjoys the Hero-Mentor relationship that Vogler discusses in the second chapter (apart from the obvious self-analogy with their mentors in real life)?

3. What other aspects or experiences do you think are necessary for a Hero to become a Mentor (a teacher), other than the ones discussed in the reading? When do you see yourself taking up the role of a Mentor in someone’s life or have you already?

Kafka Quiz

1. Connect the Ordinary World and the Call to Adventure to your reading of Book 1 of _The Metamorphosis_ Explain the connection.

-> In the reading so far, the Ordinary World is represented by Gregor's room where he spends most of the time intially. His Call to Adventure can be generally seen as his transformation into a 'verminous bug' that morning or when his mother knocks at his door, in order to wake him up. I prefer the latter because this causes disruption in his Ordinary World, where he is relaxed in bed and not worried about anything else, which relates to Vogler's ideas.

2. Are there any social issues being critiqued in the story? How does "The Red Scare" relate to Kafka's work?

-> The most evident social issue is the one of 'class', which can easily be related to 'The Red Scare'. Gregor's manager mistreats him and his parents, since they are indebted to him and are of a lower social class. He uses their fear of him and society, to control them and their son, to the point of slavery. This can be related to how Senator McArthy exploited the fear of many American families, towards Communism. This is not surprising because Gregor seems to be in a communism-based workplace where he gets paid the same, even when he does more work than the other employees.

3. What does Gregor turn into in the story?

-> Gregor turns into a 'verminous bug' at the beginning of Metamorphosis.

Revision Plan for Project One

Three elements to revise:

1) Transition between various paragraphs or parts of the 'hero's journey' in order to guide the reader through the story.

2) Increasing detail levels in some sections of the story by inserting relevant information and poweful representation of emotions.

3) Altering the ending by making it more informative and less didatic, so that it clearly answers the 'so what' question discussed in Vogler.

Three elements to edit:

1) General use and placement of FANBOYS throughout the story.

2) Choosing words and being specific rather than using this, that, it, etc.

3) Shortening some sentences, which cannot be seperated by commas, into separate ones.

Vogler Annotation (p.83-105)

Analytical and Persuasive Writing
Annotated Bibliography
Vogler (p.83 – 105)
Rajeev Rupani

Vogler, Christopher. The Writer's Journey (Mythic Structure for Writers). 3rd ed. Studio City, CA: Michael Wiese Productions, 2007. 83-105.

Summary:


In this reading Vogler discusses the first two stages of the Hero’s journey in detail: The Ordinary World and The Call to Adventure. Vogler describes the Ordinary World as the ‘world of common day’ and explains that it is a very delicate time as it sets the premise and tone for the rest of the story. Vogler then goes on to discuss the method of introducing the reader or viewer to the Ordinary World of the hero and how the storyteller must face ‘creative choices’, even before the story actually begins. The title can provide a ‘important clue’ to the reader about the nature of the story, the opening image can ‘suggest where the story is going’ and the prologue can provide an ‘essential piece of the back story’. Vogler then goes into the importance of the structure of the Ordinary World and how it must be described as a ‘home base’ for the hero, to which the Special World of adventure can be compared. The concept of foreshadowing is also discussed where the writer foretells the audience about a latter battle or moral dilemma, by depicting a similar event in the Ordinary World. The inner and outer problems of the hero are then shown to be a key to proving the hero’s worth to the audience, by establishing sympathy. The entrance of a hero, as discussed by Vogler, is an important event in the story because it portrays their ‘attitude, emotional state, background, strengths and problems’; along with helping the audience establish a relationship with the hero.


Vogler then describes the various aspects that writers can use to create an ‘identification’ between the hero and audience: the lack of something important in the hero’s life or something that is taken away from them, some sort of a tragic flaw (such as arrogance) and the concept of a wounded hero. The stakes in the story are also shown to be very important, as they are a good measure of the importance of the entire adventure. The method of conveying the back-story of the hero’s life, the exposition, is also explained to be among the ‘hardest writing skills to master’. Vogler completes the discussion of the Ordinary World by describing how the theme of a story can be stated here, even without formally informing the audience, which then sets up the course of the story to come.


Vogler then discusses the Call to Adventure, which is basically described as the ‘catalyst’ that sets events in motion once the hero has been introduced. The concept of synchronicity is then discussed where the hero encounters a string of accidents or coincidences that calls them to adventure. These accidents or events can include temptation, encountering the herald archetype character or reconnaissance by the villain into the hero’s territory. Vogler clearly explains that this Call to Adventure can also be ‘unsettling and disorientating’ to the hero, if it comes in the form of a loss in the hero’s Ordinary World, such as the death of a dear one. The hero is also shown to have no options in some circumstances or is simply ‘shanghaied’ into adventure. Vogler finishes this discussion by introducing the concept of multiple calls to adventure or ‘call waiting’, where the hero can choose between several calls depending on his or her level of interaction in the story.


Reaction:


This reading was very smooth and simple because of the preceding archetype chapters as many of these were actually included in the first two stages. The herald, hero and shadow archetype were discussed, in context to the stages in the hero’s journey. I agreed with most of Vogler’s points and could relate to the story that he was portraying, while discussing the two stages (about the tribe). I could understand his emphasis on the contrast between the Ordinary and the Special world, where the underlying theme was that they have to be different in relation to the hero. For example, the Ordinary, simple and family-orientated world of Don Corleone is significantly different than his Special, dark and crime-driven world. I did not agree with Vogler’s discussion about foreshadowing because it would in a way make it very cliché and boring for the reader who can actually deduce the premise of the story, given this clue. However, if the aim of the storyteller is to mislead the audience with this ‘foreshadow’, then it would be a good setup for a dramatic ‘twist in the tale’.


I could also relate to the ‘flat and un-involving ‘ heroes in the form of Prince Charming from Shrek 2 and 3, since he does not relate to the audience in any other way than a fake and expressionless hero. Also, the identification between the audience and the hero allows the writer to justify the wrongs done by the hero, such as the character of Robin Hood (as discussed in class). I could also see the origin of the ‘so what’ discussion in our Project I memoir, where we need to establish the stakes with the audience. I did not have many thoughts on the Call to Adventure section as I completely agreed with Vogler’s discussion about a needed ‘catalyst’ in the hero’s Ordinary World. I do believe that these two introductory stages are vital in setting up a solid platform for the upcoming story.


Questions:

1. How does the concept of a tragic flaw relate to you? What were your thoughts on the word Nemesis before you had read Vogler? Knowing this definition, have you ever played a Nemesis role in your own life?

2. Relating to the ‘so what’ reaction discussed in Vogler, how would you go about establishing the stakes in your memoir for Project 1? How would you emphasize on the importance of your journey and the values learnt from it? Is this usually the most difficult point to get across to your audience?

3. Have you ever experienced the concept of ‘call waiting’ while reading a story or watching a movie? How does one choose their call to adventure and what do you think are the important aspects that should be kept in mind while making such as choice?

Vogler Questions

Questions:

1. How important is the role of the Herald in modern literature? Does the Ally (best friend) often play the part of the Herald as well?

2. What do you feel is your Threshold Guardian, in your life, at the present? Do you believe that they are any impassable Guardians, that remain with you your entire life?

3. What are some common examples of instances when we naturally wear the mask of the Shape shifter archetype? (Not to be confused with politically correct)

Vogler Annotation (p39-80)

Analytical and Persuasive Writing

Annotated Bibliography

Vogler (p.49 – 80)

Rajeev Rupani

Vogler, Christopher. The Writer's Journey (Mythic Structure for Writers). 3rd ed. Studio City, CA: Michael Wiese Productions, 2007. 49-80.

Summary:

In this reading Vogler discusses the remaining archetypes that complete the different facets of a hero’s personality and are involved in his or her journey: the Threshold Guardian, the Herald, the Shape shifter, the Shadow, the Ally and the Trickster. Vogler differentiates between the above archetypes by discussing each one by role, function and by associating human feelings with these archetypes. The Threshold Guardian is designed to ‘keep the unworthy from entering’ and can represent internal demons, which challenge the hero with change. As Vogler explains, the hero must outwit the Guardian, form a friendship with them or ‘get into their skin’, in order to get past. Vogler associates this with the coming of a new power or success for the hero, where the hero needs to ‘incorporate’ the Guardian in order to transcend and become merciful.

The function of the Herald archetype is simply shown to be this new form of ‘energy’ that the upsets the balance in the hero’s ordinary life. Vogler discusses the need of the Herald archetype in order to bring about the change or the call to adventure to the hero, when they are ready to change. The Herald can supposedly take any stance in the hero’s journey, such as Darth Vader does in Luke’s by kidnapping Lea, and can also be temporarily portrayed by the Mentor when giving a test or a challenge to the hero. Vogler emphasizes on the importance of the Herald by stating that ‘the energy of the Herald is needed in almost every story’.

The Shape shifter archetype is defined as ‘shifting and unstable’ along with being one of the ‘powerful’ archetypes in the hero’s journey. Vogler describes this archetype as representations of the animus or the anima, as explained by Carl Jung. The encounter with the Shape shifter is seen as a very important step in the psychological growth of the hero, since they often ‘project’ their image (animus/anima) on their partner. The function of the Shape shifter is to bring ‘suspense’ and ‘doubt’ into a story and is usually found in the form of a femme fatale. Similar to the Herald, this archetype mask can be worn by anyone involved in the hero’s journey and even the hero himself, as seen in the Richard Gere example in An Officer and a Gentleman. The Shape shifter archetype can be used to clearly portray the changes in behavior or personality of the characters, in the given storyline.

The Shadow archetype ‘represents the energy of the dark side’ and can usually be portrayed by the villain in the story. Vogler states that the Shadow archetype represents the ‘power of repressed feelings’ and can be very dangerous, if not kept in check, to the hero. The function of the Shadow archetype is to challenge the hero and to force them to fight back and rise to the challenge. This archetype mask can be worn by many different characters in the story, who do not think that their actions are morally wrong. This archetype can represent the feelings of the hero, which were ignored or forgotten and can be used to understand the character of the villain in the story.

The Ally archetype can serve many important functions that can ‘humanize the heroes’. A hero can have one or more Allies, who can represent the ‘unexpressed or unused parts of the personality’ and can assist the hero in overcoming his or her obstacles. Vogler discusses different kinds of archetypes that can be non-human, animal or even from beyond the grave, each with their own function but with the common purpose of assisting the hero. The Ally archetype can also express emotions that the hero is forbidden to express, either due to their nature or their fame.

The Trickster archetype is defined as one who ‘embodies the energy for mischief and the desire for change’. Vogler defines their main purpose as ‘comic relief’ where they are used to pull the audience back into the storyline by reviving their interest. The example given compares Bugs Bunny as a trickster hero as he hilariously competes for survival from the hunters. The Trickster is also defined as a ‘catalyst character’ because he or she affects the lives of the hero or other characters without changing themselves. Vogler concludes this discussion of the archetypes by re-stating that archetypes are used to make characters that can be ‘unique individuals and universal symbols of the qualities that form a complete human being’.

Reaction

The reading consisted of Vogler explaining a lot about the important character types, in the hero’s journey, in detail. The explanation provided by Vogler for each archetype was really informative and allowed me to associate characters, from some of my favorite novels, to these different archetypes. I completely agreed with the idea of these archetypes being ‘masks’ since a lot of complex characters, especially in Shakespeare’s plays, often go through some sort of a personality cycle. The idea of characters wearing these so called ‘masks’ reminded me of a Greek amphitheater, where actors often wore masks depicting their current state of emotion or personality. At least all of these archetypes can be seen in mainstream cinema, where a complete actor is one who portrays as many different characters (or archetypes as possible).

I do however think that the role of the femme fatale has generally increased over the years, where most of the shape-shifting roles are stereotypically done by women and portray a strong sense of sensuality in movies nowadays. Given the complexity, I believe, of the female mind it is not surprising that most of these roles are offered to women because they can handle them with ease and excellence. However the emergence of certain male actors, who can perform such complex roles, can be observed recently with Heath Ledger’s amazing performance as a very complicated villain, who consisted of many different archetypes. After reading about the different archetypes, I do feel that the need for them in stories is an important way for the writer to involve the reader and make them feel like they are experiencing a human being’s story.