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?
Saturday, February 28, 2009
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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