Good Paragraph: Jack Kerouac "On The Road"

Kerouac approaches his Hero's Journey with a much more abstract view.  For most of the reading I found myself struggling with what exactly the Approach to the Inmost Cave and the Ordeal would be.  Upon the culmination of events at the end of chapter 7, however, I realized that it is in fact the confusion of the night that makes for our Ordeal.  There is a building tension with the passing of events as Sal reunites with Carlo, followed by Dean, and then is dragged through the night in a series of uncomfortable situations.  It is, therefore, this build-up of tension that is the Approach to the Inmost Cave.

Extra Credit 7

http://www.youtube.com/watch?v=j50ZssEojtM

http://www.youtube.com/watch?v=qQNpucos9wc

http://www.youtube.com/watch?v=rk8Vr00EBHA

I found these three links about CERN's Large Hadron Collider online. I found this a very helpful activity because I learned a lot about my area of inquiry. This also gave me the opportunity to see how controversial this topic has in fact become. There are hundreds of videos that explain how the LHC works and why it could be a potential danger. However, most of the videos seek to justify why it is that we don't need to fear the massive particle accelerator. It is for this reason that I thoroughly recommend this activity. It is a great way to see the more commercialized aspect of your research project. The research we are doing then becomes much more applicable to our lives and the world around us.

Project Two Strengths and Weaknesses

My overall strengths were I have an organized structure and a well defined, interesting topic.

Some constructive criticism I received showed me that my information on the topic could be more thorough and I should be more specific about the controversies.

Extra Credit 6

I read up on random acts of kindness people have come up with. There are a lot of really simple nice things you can do for other people if you take a second to step outside your own world. A random act of kindness I will be acting on next is I am surprising my sister and coming home for her school play. I know that I personally have a tendency to get caught up in my own world and it sometimes doesn't occur to me to do things like this for others. This activity was a great reminder of simple, random acts of kindness and how good they can make you and everyone around you feel.

Good Paragraph: The Bell Jar (10/31)

Esther's ordeal is marked clearly by the suicide of her dear friend Joan. The reward with which she leaves this ordeal is much less clear. It is very much a psychological lesson she learns but it is not clear that she in fact draws a healthy conclusion about her life. After Esther chooses to sleep with Irwin, an intelligent man she comes to know, her family is upset and ashamed of her actions. Esther's family then expects her to pick up where she left off and move on. While Esther very well should find a way to move on, she will not simply be able to "pick up where she left off." Her experiences have left her a changed woman. Her efforts to take the Road Back are shown in her call to Irwin in which she asks him to pay the hospital bill for her injury from their encounter and refuses to see or speak to him ever again. It is Esther's strength in this respect that makes her a valuable Hero in her own personal quest for self-understanding.

Vogler Annotation #8

Vogler Annotation #8

31 October 2008

Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. 3rd ed. Boston: Michael Wiese Productions, 2007. 175-194.

Summary

The ninth stage of Vogler’s Hero’s Journey is the Reward. This is the stage where our hero realizes the change that has come over him as a result of his “near death” experience. The quotations are necessary to express that not all heroes literally approach their own physical demise. This is the stage in which celebration may take place. The “campfire scene” also occurs in this stage and allows an opportunity for the audience to experience their hero’s relief at his or her survival. This scene also allows us to get to know our hero better and take a closer look into his mind and natural character. This stage in the journey allows our hero to take possession of his conquest. This may appear in the form of a “love scene”, a “seizing of the sword”, or even “elixir theft”.

Vogler’s tenth stage is The Road Back. This step refers to the hero’s return from the Special World back to the Ordinary World. The Hero does not always make this return consciously or voluntarily. Often, the hero is “chased” back into his Special World. The Road Back is, in a sense, a sort of second Call to Adventure, in that it requires our Hero to take the initiative to return to her former lifestyle with a new perspective on things. The Road Back is also, essentially, a rebuild of the tension experienced earlier by the audience. It is the stage in which, you are surprised to discover that the journey is not as complete as you may have initially thought.

Reaction

I have noticed a recurrent theme in these Vogler Hero’s Journey Stages: Every time you think the adventure is complete, something else comes up. There are moments of relief and joy at the Hero’s accomplishments but it is quickly discovered that nothing is as simple as it initially seems to be. This is also interesting to me because I have begun to notice in myself that, when reading books and watching films, I expect the unexpected. It is very unusual for a film to completely catch me off guard with its plot direction, and I do believe that is because of this recurrent formula that has become engrained in our society.

Questions

1. We have sought to apply Vogler to our lives in every way imaginable. I was considering this stage—The Road Back—and was not exactly sure of examples in my own life when I have been through this. Can you think of any examples in your own life that have caused you to undergo “The Road Back”?

2. Do you think a psychological reward is more valuable than a tangible one?

3. How does the Reward contribute to the type of Road Back a hero may experience?

Vogler annotation #7

Vogler Annotation #7

21 October 2008

 

Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. 3rd ed. Boston: Michael Wiese Productions, 2007. 143-173.

 

Summary

 

            In The Approach to the Inmost Cave, our Hero finds himself yet closer to the Ordeal with which he will be confronted at the heart of the Special World.  This stage sometimes appears as a courtship, while other times it may be a “bold approach” as seen in confident and committed heroes.  This is also the step in which many obstacles will commonly appear, like in The Wizard of Oz.  They are happy and relieved to finally reach the Emerald City but there are still a number of impediments they must overcome.  Threshold Guardians will also appear in this step, as a form of obstacle.  This is the point where the Hero is ultimately shown that she must complete the task at hand.

            The Ordeal is the stage where our hero is finally confronted with death or its equivalent.  The Ordeal must not be confused with the climax, however.  The Ordeal can more accurately be called the crisis.  The placement of the Ordeal in your piece of writing is crucial to audience engagement.  A reliable source of suspense and entertainment is found in a central crisis.  A central crisis is a crisis placed at the midpoint of the story.  A delayed crisis is also a very effective way to instill suspense in your audience.

            The Ordeal is also the stage in which our Hero confronts their Shadow.  The outcomes of this stage vary from the death of the villain to the villain escapes death.  Villains are also sometimes heroes of their own stories.  We will also commonly see our hero cheat death in this step.

 

Reaction

 

            The Approach to the Inmost Cave is the step where the reader feels a sense of relief while simultaneously questioning, “Could it really be that easy?”  We, therefore, know as readers that there is more coming in the story.  The Ordeal is that for which we have been waiting throughout the story.  It is the culmination of the suspense built up and is also the most awe-inspiring of the story.  It is this step that makes us forget to breathe and cling to our seats as we longingly wait to see what will become of our Hero.

 

Questions

 

1.     Is the Ordeal always the most suspenseful part of the story?

2.     Is the Approach to the Inmost Cave sometimes more suspenseful of a stage than that of the Ordeal?

3.     How does this affect the flow or content of the story?

Vogler annotation #6

Vogler Annotation #6

Elena Weinberg

14 October 2008

 

Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. 3rd ed. Boston: Michael Wiese Productions, 2007. 127-141.

 

Summary

 

            After the initial Refusal of the Call to Adventure, our hero is ready to Cross the First Threshold.  The First Threshold may take on a physical form like a river or may merely be a shift in tone.  These “energy shifts” may be effectively portrayed through music or a dimming of the screen.  This step requires, what is called “a leap of faith.”  Our hero is forced to step in to the Special World of the unknown, which requires a special type of courage. 

 

            Once the Hero has Crossed the First Threshold into the Special World, he is confronted with a series of tasks and tests that cause him to step outside of his comfort zone.  This step is called “Tests, Allies, Enemies.”  This stage of the Hero’s Journey is where our Hero makes friends and meets or becomes familiar with his enemies.  As this step includes the introduction to the Special World, a sharp contrast should be made between the two worlds, so that the audience is better able to relate to the Hero on his quest in this unknown land.  This step is also intended to prepare our hero for the more dangerous task(s) ahead.  Additionally, this is where a character will generally stop at a “local watering hole” to recuperate and become more familiar with the new world into which he has entered.  A “local watering hole” is commonly seen in the bars and saloons in old western films.  This is also a place where our Hero can quickly become familiar with New Rules of the Special World.

 

Reaction

 

            Stages Six and Seven of the Hero’s Journey (Crossing the First Threshold and Tests, Allies, Enemies) are very much preparatory steps.  While the entire Hero’s Journey is meant to prepare its audience for what lies ahead, these are the two major steps in which the hero receives his preparation for Stage Seven:  Approach to the Inmost Cave.  While they are not perhaps the most exciting of the steps in the Hero’s Journey, they are crucial steps because it is in these scenes that the Hero receives information and experience necessary for conquering the Inmost Cave.

 

Questions

 

1.     What would happen if we were to remove either of these steps from the Hero’s Journey?  Would there still be a story?  Would it still be entertaining?

 

2.     Is there a time in your own life that you have had trouble deciphering your friends from your enemies?  How does this affect your own personal Hero’s Journey?

 

3.     Is the theme of ambiguous friends and enemies a common theme in many films or stories that you can think of?

Vogler annotation #5

Elena Weinberg

Kelly

Analytic and Persuasive Writing

7 October 2008

Annotated Bibliography #5

Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. 3rd ed. Boston: Michael Wiese Productions, 2007. 107-125.

 

Summary

 

            The third step to the Hero’s Journey is the Refusal of the Call.  This step is used for dramatic effect and signals to the audience that an adventure is risky.  One response a hero may have to a call is avoidance.  The hero may question whether the trip is really necessary based on past experience.  The greater the protest, the more the audience seeks to view their hero “worn down.” 

The Refusal may also take on the form of excuses.  This is a “transparent attempt to delay their inevitable fate,” and is commonly seen in children’s shows in movies when a character lists several reasons why they should not go on the adventure. 

The next concept introduced by Vogler is  “Persistent Refusal Leads to Tragedy.” Vogler explains that this is a common trait of a tragic hero. 

“Conflicting Calls” is a way for an author to articulate the difficult choices of a hero when he or she is Called to Adventure by more than one source. 

Although, the Refusal is often portrayed negatively, there are also Positive Refusals.  An example of this is the Three Little Pigs, in which it is in fact a wise choice for the pigs to Refuse the wolf entry to their homes

The Artist as Hero is also an outlet for Conflicting Calls.  The Artist commonly finds herself torn between their inner feelings and the outer world.  Artists will often refuse “the powerful Call of the world, in order to follow the wider Call of artistic expression.”

As has been discussed in previous chapters, there exists a willing hero.  In this special case, the sense of danger or risk is portrayed through other characters.  As a hero bravely embraces the challenge ahead, others may warn him against moving forward as so many others have failed at the feat.  Another way risk is portrayed is through Threshold Guardians.

A “symbol of human curiosity” that is often used to further portray danger is the concept of The Secret Door.  For example, in Beauty and the Beast, Belle is warned by the beast never to enter the West Wing.   Belle, of course, from then on has a passionate desire to enter the forbidden West Wing.

 

The fourth step to the Hero’s Journey is the Meeting with the Mentor.  This step is the preparation for the journey ahead, and provides our hero with supplies and wisdom necessary for the accomplishment of the pending adventure.  A very prevalent example of such a Hero-Mentor relationship exists in Karate Kid, a film entirely based on the preparation to complete a task.  In some films, the sources of wisdom may greatly vary and can come from different characters and experiences throughout the story, without there being one particular character serving that role. 

Mentors of Folklore and Myth take on the form of gods, goddesses, magical animals, and creatures such as centaurs.  Centaurs are commonly wild and savage creatures, so the notion of Chiron, an unusually kind and peaceful centaur, is what most picture in terms of a mentor.  He possesses a very spiritual connection to nature.  The origin of the Mentor Himself finds its place in The Odyssey.

 

Reaction

 

            I think it is amazing how we have very much engraved in our culture a visual conception of a Mentor.  When considering more recent films or stories, however, it is very clear that writers have sought to vary up their uses of such a character exactly as Vogler suggests.  For example, it is not uncommon today, to see a young child take on the role of Mentor to someone much older than she.  This is a very interesting way to portray the natural wisdom each of us possesses before we are corrupted by experience?

 

Questions

 

1.  We have all had to Refuse or Accept a Call at one point or another in our lives.  How did it feel to make that choice?  Do you think you made the right choice?

 

2.  Do you think our lives should be guided by the wisdom we gain through experiences or that which we possess from birth?  Does one take on a greater role than the other in our decision-making processes?  Have we discarded notions of the wisdom of innocence?

 

3.  Can you think of any examples of a story where the Mentor figure is excluded?  How does that effect the flow or content of a piece of writing?

Extra Credit-Week 4

I read the article titled, "Urban Legend:  don't end sentence with preposition."  I was intrigued by this article because, since studying spanish, one of my greatest pet peeves has become when anything ends in a preposition.  Within the past couple years, especially, I always notice when a sentences ends in a preposition and my OCD wants to rework the sentence.  I go insane when I can't figure out how to reword those sentences.  I, therefore, found it very fascinating that this law that is so greatly stressed in spanish and preached by many english scholars is in fact "an urban legend."  Others should participate in this activity because there are a lot of interesting and surprising articles present on this site that will open your mind and cause you to become better informed on miscellaneous issues.

Extra Credit-Week 5

I watched two YouTube videos on rhetoric.  It was very interesting to see how rhetoric is so universally used in various media and in daily life.  I found it helpful to see examples of rhetoric in well-known films.  It put ethos, pathos, and logos in context and although I still struggle to categorize them all, it is helpful to have so many representations of rhetoric.  Furthermore, the video, "Rhetoric for Kids," was an entertaining and helpful guide to the definition and uses of rhetoric.  It is for these reasons that I recommend this activity to other students, as a helpful tool in understanding rhetoric and putting it into context, as well is for its complete and utter entertainment value.

Quiz on Kafka-Week 4

1.  After reading all of Book 1, it seems to me that Kafka uniquely portrays the Call to Adventure before introducing the Ordinary World.  Gregor's Call to Adventure is that he woke up "from anxious dreams" and discovered that "he had been changed into a monstrous verminous bug."  This depiction causes me, as the reader, to wonder what Gregor is going to do about the task set before him, and I hope that the succeeding plot action will be based around conquering or resolving this Call to Adventure.  The Ordinary World is then portrayed in the following paragraphs, where we are shown through Gregor's thoughts that he is a traveling salesman stuck in a crippling career due to a feud between his parents and his manager.

2.  The most obvious critique of social issues in this story so far appears to be the overall mistreatment of the working class.  Although we may not be able to completely trust Gregor's thoughts at this point, he spends a lot of time thinking about how unfairly treated he is in his job and the way in which the manager takes advantage of him.  On the other hand, his family must be relatively well-off because they have a servant, so maybe it is just Gregor's own, flawed perception of his life.  In relation to "The Red Scare," Kafka's portrayal of Gregor as "a monstrous verminous bug" could be used as a metaphor for McCarthy's manipulation of the American people in the 1950's.  Gregor's response to his metamorphosis almost implies that it was not an unexpected transformation; Like it was something he chose or at least, in some way, saw coming.  He seems more concerned with the fact that he woke up three hours late than with the fact that he woke up a different species.  Therefore, his disposition on the matter reminds me much of McCarthy.  McCarthy created an idea in his head that he wanted to use to manipulate the world around him and get what he wanted; He used the scare tactic of Communism.  Perhaps Gregor is not much unlike this.  He seems to feel quite out of control of his life, so perhaps in order to gain a certain amount of power over the people in his life, he chose to become a creature that would scare the people around him into believing in him rather than taking him for granted--as he may have felt in the past.  This is essentially what The Red Scare was about.

3.  Gregor turns into "a monstrous verminous bug" that sounds something like a spider.