picture for week 8 

Week 1

So for week one, we went to freerice.com. By defining words you can help donate rice to starving people. So in addition to helping others, I also learned some new vocabulary. Others should do this because its informative, and your helping others. 

Week 2

Posting your six-word memoir. Mine read, “After 18 years, I’m finally home.” Which has to deal with my moving in with my dad and such. It felt good to get that idea out there. But it was really hard to do so in just 6 words. Others should do it because it is cleansing but also challenging. 

Week 3

I chose a storycorp story when Alex Cohen interviews her father who grew up in the 60s and when he was in his 60s he became addicted to methanphedimeans. I think everyone should listen to this story because it shows that at any age, you can become addicted at age. 

Week 4

I went to Web of Language and read a story about how the University of Illinois has banned the use of the male pronoun. Mostly because when gender is undefined, we as a country had a tendency to revert to the male. So, from now on everything must be non-gender specific. This site was interesting and informative when it come to the English language. 

Week 5

I was madly in love with the panda from the fist video and while weird, the first video was pretty informative. I loved the second video. It was super amusing and informative. Gave me a better understanding. Everyone shoudl go watch them jsut because they’re funny. 

Week 6

When I went and read it, It was especially touching because it was about how Colleges are promoting random acts of kindness. The one about the pillows from Penn State struck a special cord with me. For my act of kindness, I would hand out stuffed animals in the hospitals. Everyone should read because the stories are inspiring. 

Week 7

http://www.youtube.com/watch?v=Zp710JYJ6vs

http://www.youtube.com/watch?v=R-mmOL0qhm4

http://www.youtube.com/watch?v=RMXvudlK8VY

Week 8

My sources were all books, written pretty much before there was email. So, I couldn’t do this part of the extra credit. 

Week 9

I dressed up as an Eskimo for Halloween. For me, It related to the ideas in Indian Camp, how the Native American’s are beneath the white settlers. It also related very much to my paper, which had to deal with Surnames and Identity. 

Week 10

I voted in the presidential election which was empowering and made me feel like I had made a difference, especially because both the State I’m from, Pennsylvania and Florida were both swing states, so I really did feel like I was making a differenece. 

Week 11

I missed the deadline for submitting, but had I been able to submit I would have sent in my essay about Ireland. Which I’m very proud of. 

Week 14

http://www.1000000monkeys.com/snippet.html?branch=12173

I replied to someone else’s story =]

4 Modes

Visual 

The visual I chose was a family crest. The choosing of this was pretty self-explanatory. My paper was about surnames, so the only visual that made sense to me was the family crest. It represents everything that is a surname, the meaning and the parts of it. Every symbol on the family crest represents something about the family, it’s origin and sometimes certain historical aspects of the family. 

Family crests are very important in many society. Especially when it comes to aristocratic and ancient families. The crests were displayed in a place of prominence and sometimes even on the shields of knights. They were a way of identification and people took pride in their family crests, just like today people often take prides in their last names. I know that I do. 

Book (Logos)

I have not actually read this book, because cost wise it was pretty expensive. However, I can guess what it is about just from the title of the book. It deals with Geography and Genealogy.  This was something that I remembered reading about when I was doing my project. So it was interesting to me to find a book that also talked about this in regards to the United States. 

When I was researching for my paper, I found in two or more of my sources that it has been found that surnames in England tend to congregate in one place. In my own experience I have also found this to be true. The only Brennan’s I have ever met have been Irish, and living in the greater Tri-state area. Many names I have never heard outside of Scranton, Pennsylvania. 

Movie (Pathos)

For the Movie I chose The Namesake. It is a movie about a family from India who immigrated to the United States. It follows the adventures of their one son, Gogol who is just struggling to fit in in the United States. His family is very traditional, but Gogol is not. The movie is about struggling to balance two cultures. 

I feel that many immigrants to the United States have to do that. This is why things like the Irish-American Club were founded. It’s also why places like China town popped up. It’s easier to adjust to a new place when you have people around you who speak the same language as you and practice many of the same customs. 

Song

The song I chose is called I’m Still Here (Jim’s Theme) and is is sung by John Rzeznik of the Goo Goo Dolls. The song is featured in the motion picture, Treasure Planet. The song speaks about identity and finding out who you are. The lyrics read, “They’d don’t know me. “ Jim struggles to find his way. 

He is fatherless and as such, really does not know who he is. He wants to understand his family and where he came from but it’s hard for him when his father walked out on his family. The song is played during a part in the movie where Jim finds his calling and feels truly at home with himself.  

Annotated Bibliography

Vogler, Christopher. "The Writers Journey, Stories are Alive " The Writer's Journey : Mythic Structure for Writers. By  Christopher Vogler. Vol. 3. Studio City, CA:  Michael Wiese Productions, 2007. 293-312.

Summary

Basically this section of Vogler just sums up everything else he has taught us throughout the book. He talks about the Shaman character and compares it to the writer. In addition, Vogler spends much time talking about Rumplestilskin. He introduces us to points about the story that I had never considered. As a child or as an adult. Vogler also tells us that he thinks stories have healing power. They allow us to explore another part of ourselves, temporarily forget the problems or issues we may be having. 

He also talks about the difference wants and needs and the power of wishing. Vogler spends a good deal of time talking about the wishes of the audience as well. There is a fine line you walk as a writer between the needs of your story and your own wants and that of the audience. It is important to appease the audience and also stay true to the integrity of the story.

Reflection 

I liked this section. Especially the part about Rumplestilskin. The story was one I remember hearing many, many time when I was little. In fact, I’m pretty sure I owned a movie about it at one point. For me, it was always clear cut that Rumplestiskin was the bad guy, but after reading this section of Vogler I’m not so sure about that. Tehre must have been a reason for him doing what he did. I almost want to hear his part of the story. 

The idea that stories have healing power is also something that struck home with me. I know first hand that a story can change your life. It might not be a written story, but one that someone tells you. It’s important to hear the perspectives and lessons that others have learned. Stories do just that. 

Questions

Do you agree that stories have healing power?

What do you think the other side of the Rumplestilskin story was?

Can you think of any stories that have changed your life?

Annotated Bibliography

Vogler, Christopher. "The Epilogue " The Writer's Journey : Mythic Structure for Writers. By Christopher Vogler. Vol. 3. Studio City, CA:  Michael Wiese Productions, 2007. 230-290.

Summary 

In this section, Vogler concentrates on showing the reader how the Hero’s Journey applies to certain popular films. Before doing so though, Vogler makes sure that the reader understand that the Hero’s Journey is a guideline and that in fact, audiences often prefer a story that is unique and different and actually strays from the stages in the Hero’s Journey. Vogler tells us that it isn’t a formula for a story. 

He goes on to talk about several popular movies; Titanic, The Lion King, Pulp Fiction and Star Wars. The most interesting are the Lion King and Titanic. From a production point of view Titanic was suppose to be a giant flop. It was the most expensive movie ever produced, and there was no way that it would return that profit. But it did. Vogler spends much of his time telling us why Titanic actually worked. The Lion King is an example of a movie that very closely follows the hero’s journey. It is probably the closest to the Journey I can think of. 

Reflection 

I really liked this part of the reading. By using examples Vogler not only helped me to understand but he gave me insights into movies that I love. For example, I had no idea that the Lion King was originally going to be very different. It’s a movie that I love very much, so thinking that something about it might be changed was strange. I think that some of Vogler’s ideas would about Rafiki would have helped the movie actually. 

I also loved talking about the Titanic. I remember seeing it in the movie theater when I was 8 years old and instantly falling in love with Jack. I liked the insight provided into his relationship with Rose. They are one of my favorite movie couples, and I loved the fact that Titanic was suppose to be a bust. Instead it is one of the highest grossing movies ever, and won a record breaking amount of oscars. 

Questions 

Why do you think Titanic was so successful?

Is there anything you would change about the Lion King?

Can you think of any examples were that doesn’t follow the hero’s Journey?

4 nodes

Book - Geography and Genealogy  by Dallen J. Timothy and Jeanne Kay Guelke

Movie - The Namesake 

Song - I'm Still Here (Jim's Theme) - Sung by Johnny Rzeznik (Goo Goo Dolls) 

Visual -  family crest 

Annotated Bibliography

Get out of jail free!

Annotated Bibliography

Vogler, Christopher. "Approach to the Inmost Cave and The Ordeal " The Writer's  Journey : Mythic Structure for Writers. By Christopher Vogler. Vol. 3. Studio City, CA:  Michael Wiese Productions, 2007. 143-173.

Summary 

Just like everything else, the type of hero you have in a story determines the way they will approach the inmost cave. Some heros approach it willingly, while others do not. If you are unsure about the type of hero in a story, the way they approach the inmost cave can also help you to determine that. For example, a confident committed hero will approach the cave willingly. Other heros are much more timid and they take much more time to prepare and think about what is going on. This approach to the cave is also a good time to regroup and recalibrate the group of character around your hero. No matter how hard a hero tries, eventually he will have to face the ordeal. 

The simple secret of the Ordeal is that heros must die so that they can be reborn. This run in with death serves several functions. It allows for change and character growth within the hero, no one comes back from the brink of death unchanged. The Ordeal is often one of the deepest depressions in a story and so it leads to the highest highs for both the audience and the hero. It involved growth, and emotion. 

Reflection 

Once again, I liked reading this section because I felt like it actually taught us something new instead of constantly reinstating what previous chapters had already said. I particularly enjoyed the section about the Ordeal. I liked how he used Star Wars as an example. It was easy to identify with, and it helped to illustrate the point that Vogler was getting at. I recently watched The Prince of Egypt, and when he talked about a character being reborn to heighten the emotion of the audience, I could immediately pin point that section of The Prince of Egypt. 

When I thought back about it, the simple secret that Vogler explains makes so much sense to me. Any time I see a hero “die” I am so much more elated when I find out he’s alive. Vogler is very good at pointing things out that I never actually realized before. 

3 Questions 

What are some examples of approaches to the inmost cave that you have seen in your own life?

Do you find that many of the movies you watch or stories you read involve the death and rebirth of a hero?

Why do you think this death and rebirth is so important?

Annotated Bibliography

Vogler, Christopher. "Crossing the First Threshold and Tests, Allies and Enemies." The Writer's Journey : Mythic Structure for Writers. By Christopher Vogler. Vol. 3. Studio City, CA: Michael Wiese Productions, 2007. 127-141.

Summary 

Vogler begins this section by telling us that when a Hero crosses the first hreshold, it is an act of will in which the hero commits wholeheartedly to the adventure. In essence there is no turning back now. The approach to the threshold is critical, and there are several ways to actually trigger a threshold crossing. However, heros don’t typically accept the advice from their mentor and blindly rush into an adventure. Often something like internal events or a combination of external events and inner choices are what triggers the actual threshold crossing. At the actual Threshold Crossing, the audience will experience a noticeable shift. This shift may be in the actual world, but other times it is just a noticeable shift in energy. 

Now that the hero has crossed the first threshold and has entered fully into the Special World, they can begin to undergo tests and make allies and enemies. The most important function of this period of adjustment to the special world is testing. Heros may walk into this test stage looking for adventure but often walk out with allies. Close allies of the hero may provide comic relief as well as assistance. The friends a hero makes during this stage, can help him to learn the rules of the special world which are very important. Learning these rules and adjusting is just another test of the hero. This stage is also helpful because it allows the audience to learn more about the hero. 

Reflection 

I liked this section of Vogler, much more then the last section. I feel that it wasn’t as repetitive and that I learned new things. The idea of how through making allies, the audience learns more about a hero was helpful for me. Because often times when I’ve written anything, for school or otherwise I always struggle to inform the audience about my character without making them sound fake. When Vogler used the example of John Dunbar from Dances with Wolves, it really helped me to understand what he meant by walking into the test stage looking for information and walking out with friends. I love that movie, and have seen it a million times to that example helped me to understand it. 

However, I wish that a little more time had been spend talking about the dynamics between the hero and his allies or sidekicks. I felt like though Vogler touched on that, he could have explained it a little better. The dynamics between the hero and his companions is often my favorite part of the story and I wish that it had been explained a little better. Every time I read Vogler though, I relate it back to movies I’ve seen and that makes the text so much easier to understand.  

3 Questions

Do you see more stories with a “team” of allies or just a single ally?

Do you think that sometimes adding a rival is one of the best ways to ensure that the hero experiences some character growth?

How important do you think the “comic relief sidekick” is important to a story?

Question 4 for Project 2

4. Here is where you put down one or two paragraphs' worth of questions about your topic, questions you want badly, even desperately, to have answered. These questions will lead you to those sources that will answer your questions. These questions are the passionate, fiery fuel that guide you through the morass of library work, interviews, etc.

Were Surnames ever used in a derogatory way? When did they start being associated with wealth such as the last names Carnagie, Vanderbilt, etc? Native American surnames and European surnames very simliar in that they were used to describe the person that carried them in some way, were Europeans aware of this? Why are certain surnames much more popular then others? Why are certain surnames distributed across ethnicities and cultures and others are very unique to one particular people? Which culture was the first to use surnames and for what purpose? What is the most common place to derive a surname from, a job, where you're from, family, etc? Did people chose their surnames in the beginning or were they given to them? If so by whom?

Annotated Bibliography

Vogler, Christopher. "Refusal of the Call and Meeting with the Mentor." The Writer's Journey : Mythic Structure for Writers. By Christopher Vogler. Vol. 3. Studio City, CA: Michael Wiese Productions, 2007. 107-125.

Summary 

The Refusal of the Call is often more for the benefit of the audience. The dramatic pause that happens when a hero balks at the start of his journey serves to show the audience that the adventure is a risky one. However, without this dramatic pause the journey is still seen as risky. Most often heroes who refuse the call do so because of past experience and they provide a laundry list of excuses. However, persistent refusal of the call can be dangerous. It can leader to death, or something else horrible. Often the hero doesn’t refuse the call. However, the danger of the mission is still seen through other characters. Refusal of the Call can be an opportunity to redirect the focus of the adventure. 

Meeting with the mentor is a stage in which the hero gains important knowledge, supplies and the confidence to overcome the obstacle he will face during the adventure. Even if there is no specific character playing the role of the Mentor, the hero almost always encounters some source of wisdom before setting out on their journey. A good teacher or mentor is enthused about learning as well as teaching. They are also typically heros who have experience enough to teach it to others. Often time the archetype of mentor is misleading. The mentor can be bad and take advantage of their charges.

Reflection

My favorite part of the whole thing was the story about Athena and who the whole idea of the mentor archetype arose from her. I knew that she was mentor before but i didn’t know that she was the first mentor. I think it’s interesting that the first mentor was a women god. Typically when I think of a mentor I think of a wise older man - like Merlin. It was interesting to get a different perspective on the whole thing. I liked that Volger touched on the idea that mentor’s are not always good. I also liked when he talked about making sure mentor’s are not predticable. I feel like more often then not, a mentor is an old man. 

The call to adventure section was not that interesting to me. I felt like Volger had already gone over that section previously and for the most part I felt like I was just rereading an earlier section. For me the most interesting part was still the conflicting calls. You typically think of the call as clear cut, obviously it isn’t. 

3 Questions

Do you think a mentor who leads the hero in the wrong direction can still be called a mentor? Should he or she be classified under a different archetype such as shadow?

Do you think that more hero’s refuse the call then accept it? Why?

Do all stories need a mentor or are some stories better without the presence of a mentor?

3 Things to Edit & 3 to Revise

Edit

1. Transitions

2. Better sentence structure

3. directing the reader

Revisions

1. Transitions between scenes

2. expanding upon sentences

3. explanations

The Metamorphosis Quiz

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

For me, I saw the ordinary world as Gregor's room. It's where he is comfortable. The minute he enters the outside world of the rest of his families apartment, he is uncomfortable and put it situations he would rather not be in. The Call to Adventure would be when his family is asking him to open the door. It is also when the manager is threatening him, that it what really goads Gregor into action. 

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

I'm not really sure if you can say that there are any issues being critiqued at this point in the story. Certainly there are some further down the way. Gregor being singled out, and transformed into a bug obviously puts him under suspicion just as the people who were singled out by Senator McCarthy. Gregor is also an ordinary man, who is now under attack. 

3. What does Gregor turn into in the story? 

He turns into a giant bug. 

Annotated Bibliography

Vogler, Christopher. "The Ordinary World and The Call to Adventure." The Writer's Journey : Mythic Structure for Writers. By Christopher Vogler. Vol. 3. Studio City, CA: Michael Wiese Productions, 2007. 83-105.

Summary

The Ordinary World is the “world of the common day.” It is the world in which the hero is familiar and from which the story starts. Vogler stresses how important the title can be to the story and how the opening image can set the mood for the entire novel. Though not always necessary, a prologue can also be extremely helpful in setting the mood and catching the audience’s attention. Vogeler says  “it may give an essential piece of backstory....let the audience settle into their seats.” (86) However, a prologue is not always necessary, and in some cases may even detract from the story. The Ordinary World must also be as different from the Special World as possible. This means that the Special World will be even more special, and the audience will experience a dramatic change. 

The Ordinary World can also be used as a way of foreshadowing the battles and dilemmas in the special world. All hero’s need problems, both inner and outer. Without conflicts and problems, the hero is one dimensional, flat no matter how heroically they might act.  Hero’s often have a tragic flaw, something that is eventually their downfall. Another important aspect has to do with the theme of the story. The theme is often first brought up in the Ordinary World. Volger next talks about The Call to Adventure. All authors and story tellers agree that some event is required to get the adventure moving. There are many ways in which the call may be delivered, but typically a herald of some kind is involved. There may be more then one call, which delivers more complexity to the story. 

Reflection

Vogler’s analysis of the Ordinary World was much more detailed and in depth then I thought it would be. I didn’t really think that there was that much to the Ordinary World. After reading however, I was struck by how often I see many of the things that Vogler talks about in books I read and movies I watch. For instance, in Pretty Women, Vivian must move form a world she is comfortable in to one she feels out of place in. Her life as a prostitute is very obviously the Ordinary World and it contains many of the attributes that Vogler talks about. 

I like that Vogler talks more about the hero in this chapter. I feel like it gives you a better understanding of the Ordinary World in relation to the hero. Once again, there was much more to the Call to Adventure then I thought there would be. I assumed that there would be a herald, or some other kind of internal conflict that would constitute the Call to Adventure. I was wrong, there are many, many ways in which a hero can be called to adventure. It makes all the stories much more diverse and interesting to read. 

3 Questions

1. Can you think of any book, movie, etc. where there was no call to adventure? Do you think the Call to Adventure is necessary?

2. Do you think that all hero’s have at least some trace of a tragic flaw?

3. Why do you think tragic flaws and wounds make characters more likable and easier to relate to?

Annotated Bibliography

Vogler, Christopher. "The Archetypes." The Writer's Journey : Mythic Structure for Writers. By Christopher Vogler. Vol. 3. Studio City, CA: Michael Wiese Productions, 2007. 49-80.

Summary 

Vogler continues to explain that archetypes to us in this section. He teaches us about the Threshold Guardian, Herald, Shapeshifter, Shadow, Ally and Trickster. Vogler shows us the function that each one of these archetypes performs and their importance in the story. For example, the Herald is typically employed in Act One to start the hero out on their journey. The Shadow is often not even a real being, merely a repressed part of the Hero’s emotions. 

Shapeshifters are often a different sex then the main character, and their loyalties are often in question. The archetype of the Ally is pretty self explanatory but at the same time, Vogler does a very good job or explaining it to us. He tells us that Allies are often an  “audience character.” They are able to ask questions about the Special World, or the journey that the audience wants to know the answers to. The Trickster archetype is most often seen in mythology and many heroes in mythology are Trickster heroes. 

Reflection

For me, the most interesting thing is that one character can be many archetypes. In some way, I knew this before I read Vogler, but I didn’t really think about it. The fact that a character can be a shadow character and then a hero all at the same time is an interesting concept. It allows the character to have much more depth and you are able to empathize with them more, because that dark side makes them more human. 

My favorite part was the Ally section. I liked that Vogler talked about an ally being and “audience character” because I’ve often noticed this in books that I’ve read. The main ally to the hero is the character that clears up questions the audience may have. Before reading I’d thought that I had never seen anything about the Trickster archetype, but then after reading I realized that Tricksters are everywhere. 

3 Questions

Why do you think that most times the Shapeshifter archetype is the opposite sex of the main character of the story? 

Have you seen examples of these archetypes in your everyday life?

Why do you think it is so easy for any one of these archetypes to also be another archetype at the same time?

I would be...

Megara 

(from hercules)

Much of the time when you read a list of the "Disney princesses" Megara is not included among them. This may have something to do with the fact that Megara is not like your typical princess. She is witty, sarcastic, independent and doesn't need a man. In fact, Meg often speaks of how she doesn't want to fall in love. She's been wronged, and fends for herself now. In addition, Megara also uses Hercules for her own ends in the movie. Her actions, and her personality make her very unlike any of the other princesses who are often lovesick damsels in distress with royal parents. Megara has none of those things.

While I don't plan on using someone for my own ends, I am very much like Megara when it comes to my personality. I prefer to do things myself and not depend on others. I like to think of myself as fairly self efficient and able to take care of myself. I don't think that a women needs a man, much like Meg. I never go looking for a boy, I think love happens when you least expect it. While I'm not the wittiest person, I do put on a tough front sometimes and care underneath. Megara is one of the most real and dimensional characters among the Disney females, and I think that has something to do with all of her flaws.

 

Megara - I won't say I'm In Love