Video on Guiyu, China (overview)
http://www.youtube.com/watch?v=YkB95vA4TA4
Video on Guiyu, China (Day of the worker)
http://www.youtube.com/watch?v=0JZey9GJQP0&NR=1
Jack Johnson's "3 R's"
http://www.youtube.com/watch?v=uSM2riAEX4U
Friday, May 15, 2009
Random Act of Kindness
I can think of many random acts of kindness over the past couple of years. However, the recent act of kindness was just last week. Two girls that live in my dorm beginning screaming at the top of their lungs. So, I ran to the door to see if they were okay. I found the girls standing thier desk chairs looking horror-struck underneath one of the beds. They rapidly told me about the two inch cockroach that was scurrying around their room. I laughed and grabbed a plastic cup. Searching for a long time before the bug finally scrambled my way, I pinned the roach inside of the cup and carried it off to safety. To haunt another room...
Tuesday, April 21, 2009
Rhetorical Analysis
An effective presentation appeals to ethos, pathos, and logos. Ethos allows the audience to validate the authenticity of the presentation. This can be accomplished by identifying a topic to a well-known person or product. In my presentation, I plan to include a photograph that was taken by the reporters of 60 Minutes. Since 60 Minutes is a well-known news broadcast, the audience will be able to identify with the event with a higher acceptance for its authenticity. Pathos is effective in a presentation, because it brings out the audience’s emotions. I am using the movie Ferngully to fulfill ethos in my presentation. The movie is for children, but the emotion is represented the same. Ferngully is about village of fairies trying to protect the rainforest, while humans are ravaging their land and destroying the trees. The movie examines the underdog, and hopefully, the audience will be able to appeal with having to rise to a challenge in harsh odds.
Logos appeals to the logically ideas in a presentation. Without logos, the purpose of the presentation might not make sense. Two of my modes fulfill logos. The book I chose, Beyond Recycling: A Re-user's Guide: 336 Practical Tips to Save Money and Protect the Environment by Kathy Stein explains how recycling does not have to be costly. Stein balances the environment and budget. This book shows the audience that there is a logical solution to the pile of electronics wasting away in China. The song I chose also appeals to logos. “3 R’s” by Jack Johnson was used in the soundtrack to the latest Curious George movie and breaks down how important it is to reduce, reuse, and recycle. Logically, reducing, reusing, and recycling are easy and they aid the environment, so why would people follow the song’s advice. All three rhetorical appeals, ethos, pathos, and logos, are going to be represented in my presentation. Hopefully, they will make presentation well-balanced and effective.
Monday, April 20, 2009
Thursday, April 16, 2009
Four Modes Con't
Ethos:
The photograph allows the audience to validate the authenticity of its image and permits the viewer to relate to 60 Minutes.
Pathos
The movie, Ferngully and the photograph both appeal to human emotion. The movie exemplifies child-like hope, and the photograph reveals a sense of sorrow and remorse.
Logos
The book exemplifies a logical solution to the electronic waste pile up in China. The song demonstrates a logical progression of the importance of recycling.
By appealing to people’s emotions, the presenter engages the audience on a deeper level. In order to appeal to the audience’s softer side, I chose to include a children’s movie that features fictional characters. However, the audience also needs something to relate to so that they can mentally validate the information. The photograph I chose to include was taken by a reporter for 60 Minutes. Since 60 Minutes is a well known news broadcast, the audience will hopefully deem the information to accurate. To make sense of the emotion and validation, I will include a more logical aspect. The book I am identifying examines saving money while recycling. I am hoping that this logic will appeal to a more mature crown. For the more sentimental audience members, the song I chose classical explains the worth of recycling.
Each of the three rhetorical appeal help to teach the audience about my topic. In regards to ethos, the photograph I chose will give the audience will not only show its relationship to 60 Minutes but accurately displayed to suffering that is occurring in China during to massive piles of electronic waste. The movie and photograph can both be associated with pathos. The movie, Ferngully allows the child inside to come out, connecting to a simpler time. This connection will hopefully help the audience see the damage caused on an emotional level. The photograph features barefooted children standing with mounds of electronic waste. In that does not teach the raw truth, I do not know what does. Logos is represented by the book and the song. The book teaches the audience that there are ways to recycle without being costly. Therefore, there is a solution. The song logically conveys the values of recycling, but will most likely appeal to a younger audience.
The photograph allows the audience to validate the authenticity of its image and permits the viewer to relate to 60 Minutes.
Pathos
The movie, Ferngully and the photograph both appeal to human emotion. The movie exemplifies child-like hope, and the photograph reveals a sense of sorrow and remorse.
Logos
The book exemplifies a logical solution to the electronic waste pile up in China. The song demonstrates a logical progression of the importance of recycling.
By appealing to people’s emotions, the presenter engages the audience on a deeper level. In order to appeal to the audience’s softer side, I chose to include a children’s movie that features fictional characters. However, the audience also needs something to relate to so that they can mentally validate the information. The photograph I chose to include was taken by a reporter for 60 Minutes. Since 60 Minutes is a well known news broadcast, the audience will hopefully deem the information to accurate. To make sense of the emotion and validation, I will include a more logical aspect. The book I am identifying examines saving money while recycling. I am hoping that this logic will appeal to a more mature crown. For the more sentimental audience members, the song I chose classical explains the worth of recycling.
Each of the three rhetorical appeal help to teach the audience about my topic. In regards to ethos, the photograph I chose will give the audience will not only show its relationship to 60 Minutes but accurately displayed to suffering that is occurring in China during to massive piles of electronic waste. The movie and photograph can both be associated with pathos. The movie, Ferngully allows the child inside to come out, connecting to a simpler time. This connection will hopefully help the audience see the damage caused on an emotional level. The photograph features barefooted children standing with mounds of electronic waste. In that does not teach the raw truth, I do not know what does. Logos is represented by the book and the song. The book teaches the audience that there are ways to recycle without being costly. Therefore, there is a solution. The song logically conveys the values of recycling, but will most likely appeal to a younger audience.
Tuesday, April 14, 2009
Four Modes
Movie: Ferngully
1. Ferngully is a representation of nature’s struggle to survive human destruction in the rainforest. The pile of unusable electronics in China threatens environmental stability just as the lumber collectors in Ferngully threaten the stability of the rainforest.
2. The film, Ferngully, reflects the environmental dangers caused by humans using space and resources that are detrimental to ecosystems around the world.
3. The audience is general a children under the age of 12, seeing as the movie is a cartoon with funny talking animals and fairies. However, the film teaches a younger generation about the dangers of abusing the environment.
Song: “The 3 R’s” by Jack Johnson
1. The song “The 3 R’s” by Jack Johnson was used in the soundtrack to the recent remake of Curious George. The song discusses the importance of reusing, reducing, and recycling. The themes of the song reflect the type of responsible recycling that would solve the build up of electronics in China.
2. “The 3 R’s” demonstrates a method of responsibility and respect for the environment.
3. Considering that song was from the Curious George soundtrack, the audience would appear to be one a young age group. However, the song could also appeal to environmental concerned individuals.
Book: Beyond Recycling: A Re-user's Guide: 336 Practical Tips to Save Money and Protect the Environment by Kathy Stein
1. Kathy Stein’s book describes different methods of recycling and how individuals can save environment and save money. Many American companies chose to send their electronics to China to save money.
2. If the American companies that ship their electronics knew how to save money by recycling properly, they would be more likely to actually recycle their electronics.
3. The audience would be homeowners and business owners interested in saving the environment as well as saving money.
2. If the American companies that ship their electronics knew how to save money by recycling properly, they would be more likely to actually recycle their electronics.
3. The audience would be homeowners and business owners interested in saving the environment as well as saving money.
Picture:
1. The photograph that was featured in the 60 Minutes broadcast of electronic waste in China coveys the environmental hazard of the electronic pile-up. Also featured in the photo montage is children as well as a worker. The individuals featured in the photograph represent the health hazard caused by massive amounts of electronic waste.
2. The photo montage embodies the need to raise awareness about the wrongful destruction of the environment and human lives.
3. The audience that would most likely see this photograph are viewers of 60 Minutes.
Friday, April 10, 2009
“The Simpsons as a Critique of Consumer Culture”
Summary
Sam Tingleff’s article entitled, “The Simpsons as a Critique of Consumer Culture” explains how the television program, The Simpsons evaluated materialistic society with satire. Tingleff states that the show examined the “hypocrisy within the education system, religious beliefs, American political structures, and even capitalism.” The author also discusses how the characters in The Simpsons are not based on personalities. Instead, they are based on characteristics. For instance, Lisa is rationality. Some of the characters are simply representations of a concept or idea. For instance, the character Mr. Burns is a representation of capitalism. With his corrupt, nasty persona, Mr. Burns’ character criticizes American consumer lifestyles.
Reaction
Tingleff effectively conveyed his ideas paralleling the Simpsons with many of society’s conflicts. The article was both interesting and well-written. The author related all of his ideas back to specific episodes, which added to the authenticity of his claims. His writing style also added to the readability of the article. His descriptions were brief and to the point. Therefore, he conveyed his ideas effectively without becoming wordy or difficult to follow. Overall, I enjoyed reading the article, because I could relate to its content. Also, reading his work was a nice break from reading another section of Vogler’s book.
Reflection
I enjoyed reading Tingleff’s article, because I used to watch The Simpsons when I was growing up. Although I did not understand all of the shows content at age 10, I can still appreciate the references. I remember each character on the program and can identify the traits and ideas that Tingleff emphasizes in his piece. Whenever I think about The Simpsons, I am reminded of how my grandfather would always say that I was like Lisa. He based this mainly on the fact that I played the saxophone. (However, I play the alto saxophone, and Lisa cartoon instrument resembles a tenor saxophone.) I was interested to read that Tingleff identifies Lisa with rationality. I suppose that I am rational as well. However, I would rather not be compared to Lisa, because I found her character to lack a sense of imagination.
Questions
Would you compare yourself to any of the characters?
Why would the characters in the Simpsons be considered undeveloped if they were performed with actually actors?
Do you think that Tingleff accomplishes all of his claims with his evidence? Why or why not?
Sam Tingleff’s article entitled, “The Simpsons as a Critique of Consumer Culture” explains how the television program, The Simpsons evaluated materialistic society with satire. Tingleff states that the show examined the “hypocrisy within the education system, religious beliefs, American political structures, and even capitalism.” The author also discusses how the characters in The Simpsons are not based on personalities. Instead, they are based on characteristics. For instance, Lisa is rationality. Some of the characters are simply representations of a concept or idea. For instance, the character Mr. Burns is a representation of capitalism. With his corrupt, nasty persona, Mr. Burns’ character criticizes American consumer lifestyles.
Reaction
Tingleff effectively conveyed his ideas paralleling the Simpsons with many of society’s conflicts. The article was both interesting and well-written. The author related all of his ideas back to specific episodes, which added to the authenticity of his claims. His writing style also added to the readability of the article. His descriptions were brief and to the point. Therefore, he conveyed his ideas effectively without becoming wordy or difficult to follow. Overall, I enjoyed reading the article, because I could relate to its content. Also, reading his work was a nice break from reading another section of Vogler’s book.
Reflection
I enjoyed reading Tingleff’s article, because I used to watch The Simpsons when I was growing up. Although I did not understand all of the shows content at age 10, I can still appreciate the references. I remember each character on the program and can identify the traits and ideas that Tingleff emphasizes in his piece. Whenever I think about The Simpsons, I am reminded of how my grandfather would always say that I was like Lisa. He based this mainly on the fact that I played the saxophone. (However, I play the alto saxophone, and Lisa cartoon instrument resembles a tenor saxophone.) I was interested to read that Tingleff identifies Lisa with rationality. I suppose that I am rational as well. However, I would rather not be compared to Lisa, because I found her character to lack a sense of imagination.
Questions
Would you compare yourself to any of the characters?
Why would the characters in the Simpsons be considered undeveloped if they were performed with actually actors?
Do you think that Tingleff accomplishes all of his claims with his evidence? Why or why not?
Wednesday, April 8, 2009
The Bell Jar by Sythia Plath
Silvia Plath's The Bell Jar teaches the sometimes painful reality in the journey of a woman. This relates to the film Girl with a Pearl Earring.
The novel teaches about relationships and manipulation between men and women. This relates to the novel Running with Scissors.
Plath's writing style demonstrates a highly descriptive and graphic method of conveying ideas. This is paralleled to the song "Strange Fruit" recorded by Billie Holiday.
The novel teaches about relationships and manipulation between men and women. This relates to the novel Running with Scissors.
Plath's writing style demonstrates a highly descriptive and graphic method of conveying ideas. This is paralleled to the song "Strange Fruit" recorded by Billie Holiday.
Southern trees bear strange fruit,
Blood on the leaves and blood at the root,
Black bodies swinging in the southern breeze,
Strange fruit hanging from the poplar trees.
Pastoral scene of the gallant south,
The bulging eyes and the twisted mouth,
Scent of magnolias, sweet and fresh,
Then the sudden smell of burning flesh.
Here is fruit for the crows to pluck,
For the rain to gather, for the wind to suck,
For the sun to rot, for the trees to drop,
Here is a strange and bitter crop.
Blood on the leaves and blood at the root,
Black bodies swinging in the southern breeze,
Strange fruit hanging from the poplar trees.
Pastoral scene of the gallant south,
The bulging eyes and the twisted mouth,
Scent of magnolias, sweet and fresh,
Then the sudden smell of burning flesh.
Here is fruit for the crows to pluck,
For the rain to gather, for the wind to suck,
For the sun to rot, for the trees to drop,
Here is a strange and bitter crop.
Sunday, April 5, 2009
The Second Sex
Summary
Beauvoir examines feminism and her feelings about views on woman. She discusses on how in the human species, there is “one” and there is “the other.” According to Beauvoir, man represents “one,” and woman represents “the other.” Woman is therefore relative to man. Until recently, woman was given little opportunity to excel and was oppressed by a masculine culture. The only power that a woman was perceived to have was sexually power, which seems demeaning in today’s culture. Presently, woman is still seen separately from man but with more equality. In other words, men and women are equal but different.
Reaction
I found the subject of Beauvoir’s introduction interesting but slightly redundant. I enjoy her examples relating as far back as the concept of Adam. In terms of Christianity, man was created before woman. I found Beauvoir’s writing style is appealing. She flows nicely from idea to the next and her explanations, although sometimes complex, are easily dissected by the reader. I do appreciate the ideas of her work, but I sometimes felt like she was just repeating the same point over and over again, just with different words. In the first few paragraphs, Beauvoir established that women are viewed as relative men, and she continually repeats this point throughout the piece.
Reflection
Being a woman myself, I did appreciate some of the ideas in Beauvoir’s piece more than the typical male probably would. One idea that I found particularly interesting examined opposites. One can not exist without the other. Truthfully, everything that exists within nature has a counterpart. With this in mind, who would want to be the other? No one wants to be second best, but according to Beauvoir’s examination women are the other. Unfortunately, people just simply think terms of one thing and its counter part, the other thing. In Beauvoir’s work she state, “Otherness is a fundamental category of human thought.” Perhaps it is time to break the mold of human thought and place everyone under one category.
Questions
How did Beauvoir’s views on feminism affect your views on feminism?
Can you think of examples of discrimination against women in today’s society?
Is there a solution to discrimination? Why or why not?
Beauvoir examines feminism and her feelings about views on woman. She discusses on how in the human species, there is “one” and there is “the other.” According to Beauvoir, man represents “one,” and woman represents “the other.” Woman is therefore relative to man. Until recently, woman was given little opportunity to excel and was oppressed by a masculine culture. The only power that a woman was perceived to have was sexually power, which seems demeaning in today’s culture. Presently, woman is still seen separately from man but with more equality. In other words, men and women are equal but different.
Reaction
I found the subject of Beauvoir’s introduction interesting but slightly redundant. I enjoy her examples relating as far back as the concept of Adam. In terms of Christianity, man was created before woman. I found Beauvoir’s writing style is appealing. She flows nicely from idea to the next and her explanations, although sometimes complex, are easily dissected by the reader. I do appreciate the ideas of her work, but I sometimes felt like she was just repeating the same point over and over again, just with different words. In the first few paragraphs, Beauvoir established that women are viewed as relative men, and she continually repeats this point throughout the piece.
Reflection
Being a woman myself, I did appreciate some of the ideas in Beauvoir’s piece more than the typical male probably would. One idea that I found particularly interesting examined opposites. One can not exist without the other. Truthfully, everything that exists within nature has a counterpart. With this in mind, who would want to be the other? No one wants to be second best, but according to Beauvoir’s examination women are the other. Unfortunately, people just simply think terms of one thing and its counter part, the other thing. In Beauvoir’s work she state, “Otherness is a fundamental category of human thought.” Perhaps it is time to break the mold of human thought and place everyone under one category.
Questions
How did Beauvoir’s views on feminism affect your views on feminism?
Can you think of examples of discrimination against women in today’s society?
Is there a solution to discrimination? Why or why not?
Sunday, March 29, 2009
Approach to the Inmost Cave and The Ordeal
Summary
In this section of Vogler’s text, he describes the “Approach to the Inmost Cave” and “The Ordeal.” The approach is the build up to the actually ordeal of the story. Therefore, both of these sections of the journey are full of action and emotion. Every hero has a different approach to the inmost cave, whether it is with brute confident force, careful planning, or accidental. The hero needs to be aware that because they are entering a new threshold, they might face more guardians or obstacles even before the ordeal. The ordeal is the biggest obstacle that the hero will face. Furthermore, the hero is often threatened by death. As the hero appears dead, the audience at an ultimate low, wondering if the writing will actually kill off their main character. However, as the hero awakes, the audience’s emotions bounce higher than they were prior to the apparent death. The excitement of the approach to the inmost cave and the ordeal leave the audience anxiously waiting to see if the hero will succeed.
Reaction
Because these two sections of the journey are exciting, Vogler’s text seemed a little livelier in this portion of the text. I found Vogler’s relationships to Campbell’s ideas interesting as they applied to film. However, I do wish he would relate his ideas to a film other than the Wizard of Oz. When he first began using Wizard of Oz, I found it helpful. During the previous section we read, I was beginning to tire of the film. During “The Ordeal” chapter, Vogler related every section of the chapter back to the Wizard of Oz. Although his explanations are helpful, I am really hoping for some more variety in the next section that we read.
Reflection
Vogler included a small snippet in “The Ordeal” chapter about change. For some reason, this portion of the text stuck with me. He states, “No one can go through an experience at the edge of death without being changed.” I related to this quote, because I started thinking of even lesser experiences than near death that leave an individual irreversibly changed. Sometimes even seemingly small events can cause great change. Our first project proved the changes that everyone had faced and hopefully overcome. In my hero’s journey, I described how moving around a lot as a child molded me into the person that I am now. I tried to demonstrate change by paralleling my story to the transformation from a caterpillar to a butterfly.
Questions
How does “the elasticity of emotion” affect the audience during the hero’s near death experience? Have you ever felt this way?
Why do you think that it is important to understand that the villain is the hero in his/ her own story?
Why is it important that the hero undergoes great struggle during the ordeal?
In this section of Vogler’s text, he describes the “Approach to the Inmost Cave” and “The Ordeal.” The approach is the build up to the actually ordeal of the story. Therefore, both of these sections of the journey are full of action and emotion. Every hero has a different approach to the inmost cave, whether it is with brute confident force, careful planning, or accidental. The hero needs to be aware that because they are entering a new threshold, they might face more guardians or obstacles even before the ordeal. The ordeal is the biggest obstacle that the hero will face. Furthermore, the hero is often threatened by death. As the hero appears dead, the audience at an ultimate low, wondering if the writing will actually kill off their main character. However, as the hero awakes, the audience’s emotions bounce higher than they were prior to the apparent death. The excitement of the approach to the inmost cave and the ordeal leave the audience anxiously waiting to see if the hero will succeed.
Reaction
Because these two sections of the journey are exciting, Vogler’s text seemed a little livelier in this portion of the text. I found Vogler’s relationships to Campbell’s ideas interesting as they applied to film. However, I do wish he would relate his ideas to a film other than the Wizard of Oz. When he first began using Wizard of Oz, I found it helpful. During the previous section we read, I was beginning to tire of the film. During “The Ordeal” chapter, Vogler related every section of the chapter back to the Wizard of Oz. Although his explanations are helpful, I am really hoping for some more variety in the next section that we read.
Reflection
Vogler included a small snippet in “The Ordeal” chapter about change. For some reason, this portion of the text stuck with me. He states, “No one can go through an experience at the edge of death without being changed.” I related to this quote, because I started thinking of even lesser experiences than near death that leave an individual irreversibly changed. Sometimes even seemingly small events can cause great change. Our first project proved the changes that everyone had faced and hopefully overcome. In my hero’s journey, I described how moving around a lot as a child molded me into the person that I am now. I tried to demonstrate change by paralleling my story to the transformation from a caterpillar to a butterfly.
Questions
How does “the elasticity of emotion” affect the audience during the hero’s near death experience? Have you ever felt this way?
Why do you think that it is important to understand that the villain is the hero in his/ her own story?
Why is it important that the hero undergoes great struggle during the ordeal?
Friday, March 20, 2009
Story Corps
When searching for an article at npr.org, I decided to listen to a story entitled, "Antartic Ice May Melt, But Not for Millenia." I chose this story, because I am invested in the health of the earth as well as the current issue of global warming. The article explained that we should not be so invested in worrying about the Antartic ice melting, because there are more vital catalysts to short-term sea level rise, such as water expanding due to higher temperatures. I'm glad that I chose this article, because the information furthered my understanding of global warming and sea level rise.
Free Rice
Today, I visited www.freerice.com and was amazed at how simple it was to give food to people in need. Not only was I helping to donate rice, but also I was widening my vocabulary. Now that's multitasking! The website, in structure and content, is just what people need to get excited about fighting against poverty and hunger. Even such a small sense of accomplishment and awareness can rally the world to find solutions to poverty.
Sunday, March 8, 2009
"Crossing the First Threshold" and "Tests, Allies, Enemies"
Summary
In this section of Vogler’s text, he describes two new parts of the hero’s journey, “Crossing the First Threshold” and “Test, Allies. Enemies.” Crossing into the first threshold is the first point in the story when the hero experiences two different worlds. The main obstacle in this portion of the journey is the threshold guardian, an archetype that was introduced earlier in the text. After defeating the threshold guardian, the hero must take a “leap of faith” into the new world. Next, Vogler describes different aspects of the new world. For instance, the first thing that the audience will mostly notice is the contrast between the ordinary world and the new world. Also, the hero will be faced with a series of tests in the new world. He/she will meet enemies during the tests. During the hero’s quest for knowledge, he will most likely meet allies and friends along the way as well.
Reaction
This portion was laid out similarly to the rest of Vogler’s text. I find it helpful that in each section Vogler explains more of the archetypes and how they fit into different parts of the journey. For instance, in the “Crossing the First Threshold” chapter, Vogler further explains the place and purpose of the Threshold Guardian. Also, Vogler follows up every chapter with how it compares to The Wizard of Oz. I find this portion of the chapter very helpful, because Vogler helps the reader to relate with modern culture. Another modern film that Vogler uses to better explain the threshold is Beverly Hills Cop. Having seen the film several times as a child, Vogler’s connection brought his ideas into a more vivid perspective.
Reflection
During the “Crossing the First Threshold” chapter, Vogler states that “They [the hero] may crash in the other world, literally or figuratively” (Vogler 130) I find it interesting that Vogler identifies how the hero’s leap of faith may result in a “rough landing.” In Metamorphosis, the main character, Gregor, is forced into the new world, when his body is literally transformed into a cockroach. The story does not appear to fit the hero’s journey mold at first but taking a closer look at the text proves that with a little analyzing the story parallel’s Vogler’s theories. Obviously, Gregor was faced with a rough landing when he was suddenly in the body of a cockroach. I found it interesting to apply Vogler’s terminology to the strange circumstances in the Metamorphosis.
Questions
1. Who are the threshold guardians in some of the pieces we read?
2. Have you ever taken a personal leap of faith?
3. How can allies be beneficial to the hero?
In this section of Vogler’s text, he describes two new parts of the hero’s journey, “Crossing the First Threshold” and “Test, Allies. Enemies.” Crossing into the first threshold is the first point in the story when the hero experiences two different worlds. The main obstacle in this portion of the journey is the threshold guardian, an archetype that was introduced earlier in the text. After defeating the threshold guardian, the hero must take a “leap of faith” into the new world. Next, Vogler describes different aspects of the new world. For instance, the first thing that the audience will mostly notice is the contrast between the ordinary world and the new world. Also, the hero will be faced with a series of tests in the new world. He/she will meet enemies during the tests. During the hero’s quest for knowledge, he will most likely meet allies and friends along the way as well.
Reaction
This portion was laid out similarly to the rest of Vogler’s text. I find it helpful that in each section Vogler explains more of the archetypes and how they fit into different parts of the journey. For instance, in the “Crossing the First Threshold” chapter, Vogler further explains the place and purpose of the Threshold Guardian. Also, Vogler follows up every chapter with how it compares to The Wizard of Oz. I find this portion of the chapter very helpful, because Vogler helps the reader to relate with modern culture. Another modern film that Vogler uses to better explain the threshold is Beverly Hills Cop. Having seen the film several times as a child, Vogler’s connection brought his ideas into a more vivid perspective.
Reflection
During the “Crossing the First Threshold” chapter, Vogler states that “They [the hero] may crash in the other world, literally or figuratively” (Vogler 130) I find it interesting that Vogler identifies how the hero’s leap of faith may result in a “rough landing.” In Metamorphosis, the main character, Gregor, is forced into the new world, when his body is literally transformed into a cockroach. The story does not appear to fit the hero’s journey mold at first but taking a closer look at the text proves that with a little analyzing the story parallel’s Vogler’s theories. Obviously, Gregor was faced with a rough landing when he was suddenly in the body of a cockroach. I found it interesting to apply Vogler’s terminology to the strange circumstances in the Metamorphosis.
Questions
1. Who are the threshold guardians in some of the pieces we read?
2. Have you ever taken a personal leap of faith?
3. How can allies be beneficial to the hero?
Saturday, February 28, 2009
Voglers "Refusal to Call" and "Meeting with the Mentor"
Summary
In this section of the text, Vogler discusses two new pieces of a hero’s journey, “refusal to call” and “meeting with the mentor.” The hero’s refusal is the final stage in the story before the hero actually embarks on his/her task. Vogler describes this dramatic hault in the journey as an indicator that the journey is going to be dangerous. Many heroes will try to avoid the journey and perhaps even make excuses as to why they can not commence the task. However, there are some willing heroes that are bold enough to not refuse. The “threshold guardian” is in the “refusal to call” portion of the hero’s journey. The archetype is the final obstacle before the hero final embarks into a journey of even big demons. The second part of the journey that Vogler describes in this section is the “meeting with the mentor.” The mentor provides the hero with guidance, protection, and knowledge. Often, mentors are wise older men or women who have learned from their own experiences.
Reaction
Vogler’s explanation of the “refusal to call” and “meeting with the mentor” brought together earlier parts of the text, because he discussed the roles of some the archetypes in these portions of the journey. For instance, he described how the “threshold guardian” plays an important role as the first obstacle just after the hero finally decides to accept the call. Also, his early evaluation of the mentor helped the reader to better understand the “meeting with the mentor” part of the journey. Other than his connections, I have noticed one other consistent theme throughout Vogler’s dissection of the hero’s journey. At the end of each chapter, he includes how that particular part of the journey relates to the Wizard of Oz. Being such a well-known film, the example clarifies how exactly a particular portion of journey has been applied in the past.
Reflection
There are an enormous collection of novels and films that demonstrate the concept of a mentor. However, having just watched the Matrix, it is the first movie that comes to mind. The obvious mentor of the Matrix is Morpheus, and Neo is the hero. Morpheus shows Neo the truth and provides him with all of the wisdom he can. Without Morpheus, Neo’s journey would never occur. The most interesting aspect of these two characters is their names. The name Morpheus alludes to change by have the root “morph,” and Neo literally translates into “new,” Therefore, the mentor causes change and the hero becomes something new,
Questons
How does the “refusal to call” relate to your own personal journey (like those discussed in hero’s journey papers)?
Does a refusal exist in Metamorphosis? If so, what is it?
How can you determine when a hero stops being a hero and becomes a mentor?
In this section of the text, Vogler discusses two new pieces of a hero’s journey, “refusal to call” and “meeting with the mentor.” The hero’s refusal is the final stage in the story before the hero actually embarks on his/her task. Vogler describes this dramatic hault in the journey as an indicator that the journey is going to be dangerous. Many heroes will try to avoid the journey and perhaps even make excuses as to why they can not commence the task. However, there are some willing heroes that are bold enough to not refuse. The “threshold guardian” is in the “refusal to call” portion of the hero’s journey. The archetype is the final obstacle before the hero final embarks into a journey of even big demons. The second part of the journey that Vogler describes in this section is the “meeting with the mentor.” The mentor provides the hero with guidance, protection, and knowledge. Often, mentors are wise older men or women who have learned from their own experiences.
Reaction
Vogler’s explanation of the “refusal to call” and “meeting with the mentor” brought together earlier parts of the text, because he discussed the roles of some the archetypes in these portions of the journey. For instance, he described how the “threshold guardian” plays an important role as the first obstacle just after the hero finally decides to accept the call. Also, his early evaluation of the mentor helped the reader to better understand the “meeting with the mentor” part of the journey. Other than his connections, I have noticed one other consistent theme throughout Vogler’s dissection of the hero’s journey. At the end of each chapter, he includes how that particular part of the journey relates to the Wizard of Oz. Being such a well-known film, the example clarifies how exactly a particular portion of journey has been applied in the past.
Reflection
There are an enormous collection of novels and films that demonstrate the concept of a mentor. However, having just watched the Matrix, it is the first movie that comes to mind. The obvious mentor of the Matrix is Morpheus, and Neo is the hero. Morpheus shows Neo the truth and provides him with all of the wisdom he can. Without Morpheus, Neo’s journey would never occur. The most interesting aspect of these two characters is their names. The name Morpheus alludes to change by have the root “morph,” and Neo literally translates into “new,” Therefore, the mentor causes change and the hero becomes something new,
Questons
How does the “refusal to call” relate to your own personal journey (like those discussed in hero’s journey papers)?
Does a refusal exist in Metamorphosis? If so, what is it?
How can you determine when a hero stops being a hero and becomes a mentor?
Sunday, February 22, 2009
Peer Editing
Rayna and I switched papers for the peer editing process. She made both positive and negative comments about my paper. The biggest suggestion that Rayna provided was that I should show more character progression, including how I changed as the plot itself progresses. I tried to include a few more phrases in order to heed her advice. Also, she noticed a few grammatical mistakes that really helped to polish my paper. She edited my paper with careful consideration, and I am very thankful for her suggestions!
Vogler's "The Ordinary World" and "Call to Adventure"
Summary
In this section of Vogler’s text, he discusses the very first and second part of the journey, “The Ordinary World” and the "Call to Adventure." He summarizes that the ordinary world establishes the rest of journey. It is often less exciting or dangerous than later parts of the journey. This beginning portion of journey also begins the complex characterization of the hero. In the ordinary world the hero usually establishes a relationship with the audience that will affect how they see the hero in later parts of journey. Part of this characterization is the establishment of the hero’s tragic flaw as well as something that they may be lacking. Vogler describes the call to adventure as the beginning of the real action in the story. The herald archetype is generally the intiator of change. However, sometimes the hero may want to refuse the call to adventure if it causes some time of disorientation.
Reaction
“The Ordinary World” chapter was interesting. Vogler’s interpretation of Campbell’s idea is simply understood and logical. He breaks the ordinary world into sections so that reader can break down the beginning of the journey and also make connections to books they have read or movies they have seen. He did a good job of introducing the importance of titles and prologues too. I think that people often overlook how significant titles are to how the reader/ viewer portray a piece. Like the title, readers often overlook the importance of prologues, because everyone wants to jump right into the plot. However, Vogler explains that prologues are vital in understanding the ordinary world.
Reflection
My first introduction to the word “hubris” was in my ninth grade English class. My class was reading The Odysseus. This was probably my first experience with recognizing the “hero’s journey.” Like so many other heroes, Odysseus has an obvious tragic flaw, hubris. His excessive pride causes him trouble throughout the epic poem, and the reader learns quickly that it is an obstacle too difficult even for a famed hero to completely overcome. In Vogler’s “Ordinary World” section, he introduces the hero’s tragic flaw. He states that every hero has a weakness, because a hero would be boring if they were flawless. Vogler’s theory reminded me of Odysseus because the epic would not be interesting if Odysseus did not create so many problems himself.
Questions
Why is it important for the hero to make an “introduction” to the audience?
How does the hero lacking something add to what they learn from their journey?
If Ardita was the hero in Offshore Pirate, what her “ordinary world” establish about her character?
Why is the prologue important to the ordinary world?
In this section of Vogler’s text, he discusses the very first and second part of the journey, “The Ordinary World” and the "Call to Adventure." He summarizes that the ordinary world establishes the rest of journey. It is often less exciting or dangerous than later parts of the journey. This beginning portion of journey also begins the complex characterization of the hero. In the ordinary world the hero usually establishes a relationship with the audience that will affect how they see the hero in later parts of journey. Part of this characterization is the establishment of the hero’s tragic flaw as well as something that they may be lacking. Vogler describes the call to adventure as the beginning of the real action in the story. The herald archetype is generally the intiator of change. However, sometimes the hero may want to refuse the call to adventure if it causes some time of disorientation.
Reaction
“The Ordinary World” chapter was interesting. Vogler’s interpretation of Campbell’s idea is simply understood and logical. He breaks the ordinary world into sections so that reader can break down the beginning of the journey and also make connections to books they have read or movies they have seen. He did a good job of introducing the importance of titles and prologues too. I think that people often overlook how significant titles are to how the reader/ viewer portray a piece. Like the title, readers often overlook the importance of prologues, because everyone wants to jump right into the plot. However, Vogler explains that prologues are vital in understanding the ordinary world.
Reflection
My first introduction to the word “hubris” was in my ninth grade English class. My class was reading The Odysseus. This was probably my first experience with recognizing the “hero’s journey.” Like so many other heroes, Odysseus has an obvious tragic flaw, hubris. His excessive pride causes him trouble throughout the epic poem, and the reader learns quickly that it is an obstacle too difficult even for a famed hero to completely overcome. In Vogler’s “Ordinary World” section, he introduces the hero’s tragic flaw. He states that every hero has a weakness, because a hero would be boring if they were flawless. Vogler’s theory reminded me of Odysseus because the epic would not be interesting if Odysseus did not create so many problems himself.
Questions
Why is it important for the hero to make an “introduction” to the audience?
How does the hero lacking something add to what they learn from their journey?
If Ardita was the hero in Offshore Pirate, what her “ordinary world” establish about her character?
Why is the prologue important to the ordinary world?
Thursday, February 19, 2009
Revising My Hero's Journey
After reading through my first draft hero’s journey a week later and receiving input, I have decided of a few parts that need improvement. In the first section of my hero’s journey, I developed an “ordinary world” section. After rereading through my paper, I realized that this section could use a little more detail. In order to improve this portion of my paper, I will include a few more statements that specifically identify the characters. This way the reader can get a better sense of background for the rest of the story. One other portion of the story that needs improvement is during the transition period. When I first wrote my story, I thought that this portion of the story was less important and so I put very little emphasis on improving it. However, now that I have read through my work again, I realize that I left the reader wondering about what really happened in this section. In order to improve this, I could edit or rewrite the section so that it either reveals more details or creates a smoother transition into the later parts of the journey.
Although my first draft did need some improvement, there were parts of the story that I am proud of as well. My favorite aspect of my story is the caterpillar. When I began my brainstorming on how to begin my paper, I was having difficulty finding a method that would grab the reader without jumping right into the journey. Then, I remembered the pet caterpillar I had a child. Although this story takes place over eight years, and caterpillars/ butterflies do not live more than one or two, I thought it would be interesting if the caterpillar remained with me throughout my journey. The reason why I like this aspect is because the caterpillar in many parallels my life, and the changes that occur during the story. One other part of my story that I liked was the ending. I tried to create closure but instill a sense of continuation in the reader. After all, I ended claiming that I was about to begin my next journey.
Although my first draft did need some improvement, there were parts of the story that I am proud of as well. My favorite aspect of my story is the caterpillar. When I began my brainstorming on how to begin my paper, I was having difficulty finding a method that would grab the reader without jumping right into the journey. Then, I remembered the pet caterpillar I had a child. Although this story takes place over eight years, and caterpillars/ butterflies do not live more than one or two, I thought it would be interesting if the caterpillar remained with me throughout my journey. The reason why I like this aspect is because the caterpillar in many parallels my life, and the changes that occur during the story. One other part of my story that I liked was the ending. I tried to create closure but instill a sense of continuation in the reader. After all, I ended claiming that I was about to begin my next journey.
Sunday, February 15, 2009
More on Archetypes
Summary
In this section of the text, Vogler continues to define several specific examples of archetypes. These include the threshold guardian, the herald, the shapeshifter, the shadow, the ally, and the trickster. The threshold guardian utilized in the story to test the hero. Generally, the threshold guardian is not the main villain. The herald is a character that often motivates the hero to make a change and is therefore often associated with the “call to adventure” portion of the journey. A good example of a herald in Greek mythology is Hermes. The shapeshifter is an unstable character in the story. Like the herald, they represent change. The characters that are shapeshifters are never quite what they seem to be on the outside and may have hidden qualities. The shadow is equivalent to the dark side and is the greatest challenge that the hero must overcome in their journey. The character that portrays the shadow could be a monster or even an inner struggle of the hero. Allies are a companion of the hero and often offer comic relief to the intense journey. Lastly, Vogler describes the trickster. The trickster is mischievous and is used to bring down the ego of the hero.
Reaction
These last few sections of the archetypes chapter wrap up the characters in a hero’s journey effectively. After reading this passage, it is easier to piece together Joseph Campbell’s concept through the ideas presented by Vogler. The section of this reading that I found most interesting was about the shapeshifters. Although I have read many stories and watched films that contain shapeshifters, I never identified them as an important part of the protagonist’s journey. I think that often times shapeshifters might be difficult to identify considering that they may not be changing physically. I think that some of the most dangerous characters could potential be shapeshifters, because they are difficult to read and never convey their true emotions.
Reflection
In the story we discussed last class, Indian Camp by Hemingway there were some odd speculations about Uncle George. One of theories was that he was actually the father of the young Native American women’s child. If this was truly Hemingway’s intention, which archetype is Uncle George in the story? He would certainly be trying to fool Nick and his father, but this does not make him the trickster. Perhaps, he could be defined as the shapeshifter. He is certainly not the protagonist, and he remains mysterious throughout the story. It seems that Hemingway is careful not to describe Uncle George’s character too in depth. His hidden qualities make the reader curious about Uncle George’s motives in the story which is probably why critics try to understand the complexity of his character.
Questions
1. Why is it that tricksters are often catalysts but can remain unchanged themselves?
2. What do you think is a more difficult struggle for the protagonist, an internal shadow or and monster? Why?
3. Why is a threshold guardian a necessary archetype?
In this section of the text, Vogler continues to define several specific examples of archetypes. These include the threshold guardian, the herald, the shapeshifter, the shadow, the ally, and the trickster. The threshold guardian utilized in the story to test the hero. Generally, the threshold guardian is not the main villain. The herald is a character that often motivates the hero to make a change and is therefore often associated with the “call to adventure” portion of the journey. A good example of a herald in Greek mythology is Hermes. The shapeshifter is an unstable character in the story. Like the herald, they represent change. The characters that are shapeshifters are never quite what they seem to be on the outside and may have hidden qualities. The shadow is equivalent to the dark side and is the greatest challenge that the hero must overcome in their journey. The character that portrays the shadow could be a monster or even an inner struggle of the hero. Allies are a companion of the hero and often offer comic relief to the intense journey. Lastly, Vogler describes the trickster. The trickster is mischievous and is used to bring down the ego of the hero.
Reaction
These last few sections of the archetypes chapter wrap up the characters in a hero’s journey effectively. After reading this passage, it is easier to piece together Joseph Campbell’s concept through the ideas presented by Vogler. The section of this reading that I found most interesting was about the shapeshifters. Although I have read many stories and watched films that contain shapeshifters, I never identified them as an important part of the protagonist’s journey. I think that often times shapeshifters might be difficult to identify considering that they may not be changing physically. I think that some of the most dangerous characters could potential be shapeshifters, because they are difficult to read and never convey their true emotions.
Reflection
In the story we discussed last class, Indian Camp by Hemingway there were some odd speculations about Uncle George. One of theories was that he was actually the father of the young Native American women’s child. If this was truly Hemingway’s intention, which archetype is Uncle George in the story? He would certainly be trying to fool Nick and his father, but this does not make him the trickster. Perhaps, he could be defined as the shapeshifter. He is certainly not the protagonist, and he remains mysterious throughout the story. It seems that Hemingway is careful not to describe Uncle George’s character too in depth. His hidden qualities make the reader curious about Uncle George’s motives in the story which is probably why critics try to understand the complexity of his character.
Questions
1. Why is it that tricksters are often catalysts but can remain unchanged themselves?
2. What do you think is a more difficult struggle for the protagonist, an internal shadow or and monster? Why?
3. Why is a threshold guardian a necessary archetype?
Sunday, February 8, 2009
Vogler's "Archetype"
Summary
In this chapter, Vogler introduces the concept of archetypes. Common archetypes that are used in stories are the hero, the mentor, the threshold guardian, the herald, the shape shifter, the shadow, the ally, and the trickster. Storytellers and writers often choose characters that fulfill most if not all of these archetypes. However, Vogler explains that an archetype could be performed as a function of a character rather than having each character fulfilling a specific archetype. For instance, a character could act as a mentor at the beginning of the journey and turn into a shadow later in the story. Vogler also explains that the hero will often learn from each of the archetypes during their journey. Therefore, the hero accumulates traits from multiple characters. This creates the necessity to have a variation in characters and different archetypes.
Reaction
Vogler deeper elaborates on part of the overview that was introduced in his first chapter, “The Practical Guide.” This portion of Vogler’s text was easy to understand. I was at first confused about the large number of archetypes that Joseph Campbell suggested in order to explain the hero’s journey. I was wondering whether most stories really had such a large number of consequential characters. However, Vogler explains how an archetype can simply be a function of a character rather than the entire character itself. It seems to me that this technique could be valuable in modern films. The director would not have to cast as many main characters if certain characters could satisfy more than one archetype.
Reflection
This chapter on archetypes reminded me of the recent film, Lady in the Water. This film is structured around an east-Asian fairytale about water nymphs. In order to complete the story, the main character of the film must find real people that live in his apartment complex to accomplish the various roles of the story. He must find a guild, a healer, a guardian, a hero, and an interpreter to save the water nymph or messenger. Each of these characters represents an archetype. The messenger could be equivalent to the mentor. The threshold guardian could be represented by the guardian in Lady in the Water. This just goes to show that the archetypes present in Joseph Campbell’s hero’s journey are vividly examined in modern films.
Questions
In this chapter, Vogler introduces the concept of archetypes. Common archetypes that are used in stories are the hero, the mentor, the threshold guardian, the herald, the shape shifter, the shadow, the ally, and the trickster. Storytellers and writers often choose characters that fulfill most if not all of these archetypes. However, Vogler explains that an archetype could be performed as a function of a character rather than having each character fulfilling a specific archetype. For instance, a character could act as a mentor at the beginning of the journey and turn into a shadow later in the story. Vogler also explains that the hero will often learn from each of the archetypes during their journey. Therefore, the hero accumulates traits from multiple characters. This creates the necessity to have a variation in characters and different archetypes.
Reaction
Vogler deeper elaborates on part of the overview that was introduced in his first chapter, “The Practical Guide.” This portion of Vogler’s text was easy to understand. I was at first confused about the large number of archetypes that Joseph Campbell suggested in order to explain the hero’s journey. I was wondering whether most stories really had such a large number of consequential characters. However, Vogler explains how an archetype can simply be a function of a character rather than the entire character itself. It seems to me that this technique could be valuable in modern films. The director would not have to cast as many main characters if certain characters could satisfy more than one archetype.
Reflection
This chapter on archetypes reminded me of the recent film, Lady in the Water. This film is structured around an east-Asian fairytale about water nymphs. In order to complete the story, the main character of the film must find real people that live in his apartment complex to accomplish the various roles of the story. He must find a guild, a healer, a guardian, a hero, and an interpreter to save the water nymph or messenger. Each of these characters represents an archetype. The messenger could be equivalent to the mentor. The threshold guardian could be represented by the guardian in Lady in the Water. This just goes to show that the archetypes present in Joseph Campbell’s hero’s journey are vividly examined in modern films.
Questions
- Do you think that it is effective to have archetypes as functions or should each character represent one single archetype? Why or why not?
- What other characters in films or stories could be used to demonstrate the archetypes that Vogler explained?
- Is it beneficial to the hero to accumulate traits from the other archetypes in the story? Why or why not?
Sunday, February 1, 2009
My Childhood Hero
Growing up I was always a fan of Disney movies. However, I felt as though many of the female characters were displayed as weak or in need of rescuing. It seemed that every fairytale was accompanied by a damsel in distress. My eight year old self was searching for something more. Don’t get me wrong Superman and Batman are great but they do not embody a great role model for a young girl. Which is why after viewing the Disney film, Mulan, I had chosen my hero. As a young female growing up in China, Mulan was expected to just become a soldier’s wife, have children, and spend the rest of her life cleaning up after them. However, once she decides to save her father from going to war, she disguises herself and joins the Chinese army. The rest of the film shows her struggles to become as strong as the men. She finally proves herself a great warrior and her identity is discovered. Suddenly, she loses all the respect she had gained even though she proved herself to be a greater warrior than most of the men. Mulan became my hero, because she a strong, independent female who put aside her fear to save her family. In doing so, she proves that women should be validated for their strength just as much as men. I was raised by a strong-willed mother and find that I can often relate to characters like Mulan. Having such a hero also helped me to realize that proving yourself is never an easy task and therefore encouraged me to always strive to succeed. Perhaps in the end, I will be able to prove my strength, just as Mulan did.
Vogler's "A Practical Guide"
Summary
In this section of the text The Writer’s Journey, Christopher Vogler introduces how Joseph Campbell’s work, The Hero with a Thousand Faces, relates to the journey of the writer. Campbell’s book describes the typical journey of a hero and ultimately describes the similarities between heroes that exist in different time periods and cultures. Therefore, he is able to establish an archetype for the hero. Vogler transforms Campbell’s hero’s journey into the thought process of the writer. He separates the book into three separate acts, each with scenes that correlate to the steps in Campbell’s hero’s journey. Vogler even uses modern day film to describe the accuracy in Campbell’s typical hero’s journey, suggesting films like The Wizard of Oz, Star Wars, and Beverly Hills Cop. Vogler’s ability to relate modern media to Campbell’s theory aids the reader in a better understanding of the journey that the writer must take as well.
Reaction
This first chapter in Vogler’s work was clear and concise, especially since it was paralleled to Joseph Campbell’s The Hero with a Thousand Faces. Having already read portions of Campbell’s work in the past, I easily understood the connections that Vogler was making to the journey of a writer. Vogler’s connection to film added humor to his text and allowed the reader to make modern day connections to The Hero with a Thousand Faces. For instance, he relates the hero’s ordeal, which is generally the most fearful confrontation the hero will make, to Star Wars. Vogler describes the near death of Luke Skywalker on the Death Star when he has a confrontation with the giant trash master. The near death experience creates fear in the audience and proves that this modern day film is in fact an appropriate representation of the hero’s journey.
Reflection
Throughout my short writing career, I have always been encouraged to steer clear of making connections to films. Most of my past assignments have strictly required me to relate my thoughts and ideas to literature or factual research. It is refreshing that Vogler relates the hero’s journey to films. Although my brain has been trained not to make connections involving film, our media rich society has made it difficult to think of other supposedly more intellectual examples. Vogler’s description in this portion of the text allowed me to experience the hero’s journey outside of the typical discussions of Gilgamesh and Odysseus. Last semester I received an assignment to write a paper comparing and constrasting the leadership and heroic qualities of Gilgamesh, Odysseus, and Rama. Reading Vogler’s connections to Star Wars and Beverly Hills Cop are certainly a nice break from the ancient hero’s in literature that are commonly discussed.
Questions
Is the heroic archetype constructed through past writers and innovators or by the human collective unconscious?
How does Vogler’s connection to the Wizard of Oz reveal Dorothy as a female hero?
If Luke Skywalker is an archetype hero, how does Darth Vader, as the villain, contribute to Campbell’s hero’s journey?
In this section of the text The Writer’s Journey, Christopher Vogler introduces how Joseph Campbell’s work, The Hero with a Thousand Faces, relates to the journey of the writer. Campbell’s book describes the typical journey of a hero and ultimately describes the similarities between heroes that exist in different time periods and cultures. Therefore, he is able to establish an archetype for the hero. Vogler transforms Campbell’s hero’s journey into the thought process of the writer. He separates the book into three separate acts, each with scenes that correlate to the steps in Campbell’s hero’s journey. Vogler even uses modern day film to describe the accuracy in Campbell’s typical hero’s journey, suggesting films like The Wizard of Oz, Star Wars, and Beverly Hills Cop. Vogler’s ability to relate modern media to Campbell’s theory aids the reader in a better understanding of the journey that the writer must take as well.
Reaction
This first chapter in Vogler’s work was clear and concise, especially since it was paralleled to Joseph Campbell’s The Hero with a Thousand Faces. Having already read portions of Campbell’s work in the past, I easily understood the connections that Vogler was making to the journey of a writer. Vogler’s connection to film added humor to his text and allowed the reader to make modern day connections to The Hero with a Thousand Faces. For instance, he relates the hero’s ordeal, which is generally the most fearful confrontation the hero will make, to Star Wars. Vogler describes the near death of Luke Skywalker on the Death Star when he has a confrontation with the giant trash master. The near death experience creates fear in the audience and proves that this modern day film is in fact an appropriate representation of the hero’s journey.
Reflection
Throughout my short writing career, I have always been encouraged to steer clear of making connections to films. Most of my past assignments have strictly required me to relate my thoughts and ideas to literature or factual research. It is refreshing that Vogler relates the hero’s journey to films. Although my brain has been trained not to make connections involving film, our media rich society has made it difficult to think of other supposedly more intellectual examples. Vogler’s description in this portion of the text allowed me to experience the hero’s journey outside of the typical discussions of Gilgamesh and Odysseus. Last semester I received an assignment to write a paper comparing and constrasting the leadership and heroic qualities of Gilgamesh, Odysseus, and Rama. Reading Vogler’s connections to Star Wars and Beverly Hills Cop are certainly a nice break from the ancient hero’s in literature that are commonly discussed.
Questions
Is the heroic archetype constructed through past writers and innovators or by the human collective unconscious?
How does Vogler’s connection to the Wizard of Oz reveal Dorothy as a female hero?
If Luke Skywalker is an archetype hero, how does Darth Vader, as the villain, contribute to Campbell’s hero’s journey?
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