Wednesday, October 29, 2008
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.
Monday, October 27, 2008
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.
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?
Tuesday, October 21, 2008
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?
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?
Monday, October 13, 2008
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?
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?
Tuesday, October 7, 2008
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?
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?
Friday, October 3, 2008
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.
-> 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.
Thursday, October 2, 2008
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.
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.
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