Reflection...

So far I have read over 300 pages of Vogler's Writer's Journey and have completed 11 distinct annotations on every chapter of his book. I have also completed my very first memoir which later transferred itself into a research paper about homeschooling. Interestingly enough, the research paper had originally been produced as an argumentative paper on homeschooling, which in the end got me through the Writing Portfolio. This was the first time I was ever able to transform a paper from one form into another. I never thought I could possibly perform this kind of writing.

My plan of action is to (1) record my interview with my cousin regarding her experiences with homeschooling as a child, and (2) find suitable materials for my presentation December 5th. I would like to have a fold able billboard for most of the discussion section and use my laptop for visual feed (the song I found on Youtube, Socialization Blues). (3) Construct the billboard, and (4) suck it up and not feel so scared about doing the presentation.

I believe all of the above mentioned essentially feeds into my presentation. I look at it all as a flow chart, with one piece giving birth to another and finally ending in a presentation of all that has been covered. I highly doubt that the research paper (Project Two) could have possibly been created had it not been for the initial memoir (Project One). Even the organization in which I volunteered ( Project Three), which has almost nothing to do with homeschooling, managed to have a slight connection.

Week Eleven Vogler Annotation...

11.18.08

Zoah Alvarado

Vogler Annotation.

Vogler, Christopher. "The Writer's Journey." The Writer's Journey: Shaman and Appendices: Stories are Alive. Studio City, CA: Michael Wiese Production, 2007. 291-312.

Summary.

In Shaman: The Writer's Journey Vogler explains how his book can be used as an accurate guideline which orients the inspiring writer in the correct direction. Vogler also introduces the idea that the Writer's Journey and the Hero's Journey are in essence the same in that both the hero and the writer encounter the same "tests, trials, ordeals, joys, and rewards" (293).

Writing is described as a perilous journey which the writer takes on him or herself to accomplish in order to discover the depths of his or her soul. The archetypes even take on new life and meaning when applied to the Writer's Journey as they pertain to the Hero's Journey. For example Vogler mentions "low selfesteem or confusion about goals may be the Shadow that chill our work", and the Threshold Guardian as the "editor or one's own judgemental side...that seem to block our way" (293). Vogler goes on to say how the alphabet were believed in many cultures to be powerful magical symbols, explaining how the Norse Runes and Hebrew alphabet were simple yet deep symbols of cosmic significance. Another interesting point Vogler makes is on how "When you 'spell' a word correctly, you are in effect casting a spell, charging these abstract, arbitray symbils with meaning and power" ( 294). Writer are compared to Shaman and /or Medicine men or women in this section on account that both are "special people set apart from the rest by their dreams, visions, or unique experiences" (294). Shamans have been known as " the wounder healers" and in such a way writers have come to produce their craft only after being shattered or "wounded".

Reaction.

I like the connection Vogler makes between Shaman's and Writers with the concept that they are both a characterized as dreamers and people with unique experiences which they share with others. I also like Vogler's statement about how spelling a word correctly you are essentially casting spell. The fact that many culture believe alphabets to have far more meaning and power than simple communication, documentation, or recclocation.

Questions. 

1. What other kinds of character archtype could writers be compared to?

Words.

Manipulate (294): to handle apparatice, etc., in experiment; to handle, esp. with skill or dexterity; to turn, repostiion, reshape, etc., manually or by means of a tool or machine; to manage, control, or influence in a subtle, devious, or underhands manner.

It is often times intriging to see how often we humans manipulate each other.

Week Ten Vogler Annotation...

11.07.08

Zoah Alvarado

Vogler Annotation

Vogler, Christopher. "Epilogue". Looking Back on the Journey. Studio City, CA: Micheal Wiese Production, 2007. 231-290.

Summary.

Here stands the end of the road for story and hero alike, however, the element of nostalgia is also incorporated for the sake of memory, reflection, the basic act of looking back on history. This is by far, Vogler's longest chapter, and in it he strives to communicated the fact that his book, The Writer's Journey, should not be staunchly followed but merely used as a faint background or "guideline". Vogler makes this sentiment clear in his first "Caveat Scriptor" statement, "... The Hero's Journey is a guideline. It's not a cookbook recipe or a mathematical formula to be applied rigidly to every story. To be effective, a story doesn't have to concur with this or any other school, paradigm, or method of analysis."(231) Vogler also explains to the reader and expectant writer the beneficial results of choosing a metaphor, THEIR own metaphor as a means of producing a template for their story. Interestingly enough, Vogler even goes on to say that it may be best to altogether forget what was read and learned from The Writer's Journey and refer to it only as a metaphor if, and when, the writer has "lost" his or her "way". Vogler writes, "It's probably best to acquaint yourself with the Hero's Journey ideas and then forget about them as you sit down to write. If you get lost, refer to the metaphor as you would check a map on a journey."(233) The best of his comments is regarding how the writer should not at all use a map but indeed get lost in creativity in order for new discoveries to be made and a great story to unfold.

Reaction.

The one thing that impacted me the most about this chapter was Vogler's statement regarding how the mass media, ( Vogler specifies MTV) has greatly increased story pace and rhythms resulting in shorter audience attention spans and reenforcing their ability to keep up with storyline twists, turns, stops, and goes, forward and retro movements. Although I agree that this has indeed happened, I do not believe it is truly a good result for various reasons, possibly unrelated to the present subject matter. I was furthermore intrigued by Vogler's statement about the writer needing to become lost in creativity in order for a successful storyline to be produced. I feel it is true that in order for a comparatively good story to be produced, the writer must move away from boring, perhaps overused, convention, and must free and loose themselves to creativity.

Questions.

1. Is it truly good that the average audience has been forced to slacken/shorten their attention span in order to be able to keep up with the various kinds of media including literature?

2. Can the twists and turns, the stops and goes, the forward and retro movement of a written story really only be appreciated and followed by the audience that has been conditioned by fast paced short sequenced media?

Words.

Denouement (254): n. The final resolution of the intricacies of a plot, as of a drama or novel. The place in the plot at which this occurs. The outcome or resolution of a doubtul series of occurences.

Sentence: The word denouement came from the French word, denouer, which literately means to untie or the action of untying.

Frisson (262): n. A sudden, passing sensation of excitement; a shudder of emotion; thrill.

Sentence: Few movies have been able to induce in me pure frisson as has the movie The Piano.

America's Presidential Electoral History...(And Week 9 Extra Credit)

Because I just had to...

On November 1st 2008, I voted during the Pinellas County Florida Early Voting movement. Waited 3 1/2 hours, but it was worth it.

Week Nine Vogler Annotation...

11.04.08

Zoah Alvarado 

Vogler Annotation

Vogler Christopher. "Book Two: Stages of the Journey." Stage 11:  The Resurrection and Stage 12: Return With the Elixir.

Studio City, CA: Michael Wiese Production, 2007. 196-228.

Summary.

The stage of the Resurrection marks the very last stage in which the hero must once again battle through yet another trial. The battle is similar to the Supreme Ordeal given that the hero must again "die" and be "reborn" in order to be allowed back into the Ordinary World. The return to the Ordinary World would not be possible if the hero does not under go  a secondary transformation/metamorphosis with which only "death" and "Resurrection" (literal or metaphorical) can provide. This last Ordeal is one of greater peril than all others. One may be confused as to whether or not this stage carries a climax or a crisis, however,  Vogler stamps the Resurrection as a climax and not a crisis. He writes,  "This is the climax (not the crisis), the last and most dangerous meeting with death"(197). Vogler goes on to define the many kinds of Resurrection, from Cleansing, and Romantic Choice, down to Sacrifice.  

Reaction.

It was interesting to me how Vogler mentions in his "Sadder but no Wiser" section of the chapter how "the worse kind of fool is the on who doesn't get it" (222). Here he compares the foolish hero who does not learn a thing from his or her ordeals to the hero who learns from his trials. Vogler explains that the foolish hero may have come understand the results of his journey but returns to his former self instead of further continuing his character development. I liked this theme on account that it seems much more truer to reality.

Questions.

1. Which is the best sort, a circular, or an open-ended story?

2. Can it be said that open-ended stories have recently become more appreciated?

Words.

Pitfall (224): unfavorable terrain in which an army may be surrounded and captured; a trap for catching birds, in which a trap door falls over a cavity or hollow; a hidden or unsuspected danger, difficulty, or opportunity for error.

During my time at Eckerd, I tried my best not to succumb to the pitfalls of procrastination.

Project Three Four Modes...

Book: Surviving the Applewhites, by Stephanie Tolan

For the book I used Surviving the Applewhites by Stepanie Tolan because it supports my research paper's topic on how homeschooling can work for children who do not fair well in traditional styles of education. Although the main character, Jake Semple, does not suffer from ADD, but is instead a social misfits on account of being thrown out of every public school into which he was ever placed, the story fits the subject matter very well.

Given its realistic and yet humorous content the book seems more directed towards readers ages 12 and up. For the younger audience it makes for an interesting read, while the older audience will most definitely understood its content.

Song: Socialization Blues by Israel Wayne (Youtube).

For the song I selected Israel Wayne's Socialization Blues because it satirically addresses, from an insiders view, the myth that homeschoolers are the socially underdeveloped odd balls of society. Although my paper had absolutely nothing comedic about it, the song nevertheless fits perfectly while it renders effective comic relief. The younger audience may not be able to fully appreciate the song since it relies heavily on lyrical rather than musical communication, and because the topic is not something of which the elementary student will probably be aware.

Many believe those who were homeschooled for the greater parts of their young lives grow up to be inept and socially handicapped citizens. Israel Wayne essentially pokes fun of said belief. The song itself is mostly aimed towards those who are old enough to be aware of the differences between homeschooling and traditional schools. In short, the song attempts to explain the fact that homeschoolers are just as normal as the every day and average school children.

Film: Thanks to a comment placed by Israel Wayne: see comment below, the film Mysterious Ways, by Manual F. Edwards.

For the film piece I chose Manual F. Edward's Mysterious Ways on account that it deals with the issue of homeschooling legality almost as staunchly as my project two topic. The story details a family's struggle against a government that is pressuring them to place their troubled child in public school systems, claiming homeschool illegal and irresponsible, and threatening to take custody of their children, effectively tearing the family apart.

Much like the film piece, Mysterious Ways is aimed towards the older audience who, from experience and learning, will be able to understand and fully appreciate the events which occur in the movie as it pertains to the topic.

Visual Piece: "By the Fireside" print, by William Blacklock ( found in All Posters.com).

For my visual piece I picked William Blacklock's "By the Fireside" print for its incredible depiction of homeschooling's positive and family oriented atmosphere. The print is warm, pleasant, and of course, instilled in the home. It shows the original children's educational method and location: home.

What struck me the most was how the teacher is not at all the mother, but instead the grandmother. Something that makes the viewer understand just how far a child's schooling may extend within the home/family itself. The print says: even grandmothers carry the ability to teach if and when the mother is not present. The fact that there is more than one child and that the teacher is of advanced age also speaks of the how effective a general person can actually be as a tutor provided that said tutor harbors good learning qualities and quantities.

One Good Paragraph (Bell Jar)...

In a strange way, Esther's harsh life experience provides her with the Reward(s) she needed and wanted to recover from her mental illness. The loss of her virginity and the loss of her friend, Joan, both seem to quiet down her rampet mind, and Esther seems to undergo large scale maturation in light of the tragic events. Although, the process of losing her virginity caused her much bodily harm, and she knew her failed suicide attempt prompted Joan to take her own life, Esther also learns how to empathize with others. The Road Back comes to play when Esther returns to college where she strives to take back her life with a fresh new start. She begins her "new life" by removing all the entities which took part of her former life: her friends, the doctors at Belsize, and even her first sexual partner. Esther now stands with newly found strength and power over herself even while understanding the posibility of a reoccurance of her mental illness.

Week Eight Vogler Annotation...

10.28.08 

Zoah Alvavado

Vogler Annotation

Vogler, Christopher. "Book Two: Stages of the Journey." Stage 9: Reward, and Stage 10: The Road Back. 

Studio City, CA: Michael Wiese Production, 2007. 174-195.

Summary.

Once the Ordeal is over and done with, the hero then receives his or her just reward(s). Death has been encountered and overcome and now it is time for celebration. The Reward is usually that which the hero has sought since the conception of the journey itself, however, extra rewards can also be given either to the hero or his followers. Vogler speaks up the "Campfire Scenes" in which the hero and his band convene after the Ordeal to relax, reflect on the past and/or enjoy the fruit of their labor before it is time to hit the road once more. He writes "Many stories seem to have campfire-type scenes in this region, where the hero and companions gather around the fire or its equivalent to review the recent events. It's also an opportunity for jokes and boasting" (176). In short the stage of Reward generally allows for a well earned slowing down of pace and time for rest and relation for all involved in the Ordeal.

Vogler does not leave out the fact that the elixir may not have been earned by the hero's honest days work, but stolen instead. Although the elixir has healing potential, if the hero acquires it through dishonest works, he or she may suffer instead of actually benefiting from it.

Upon the completion of the Reward stage enters the stage of  The Road Back in which the hero who does not choose to remain in the Special World must now return home, or continue on to new destinations, carrying the elixir in hand. The Road Back can essentially mean the return to the Ordinary World, the place of origin,  the starting point, or even the moving on of the journey into new places or the higher of destinations.  Vogler states, "Although the Special World may have its charms, few heroes elect to stay.  Most take the Road Back, returning to the starting point or continuing on the journey to a totally new locale or ultimate destination" (187). Here the hero must return home in order to share the reward with his people so that order and peace may be reestablished. Or, the hero must keep going, perhaps maintaining the life of a nomad in order to spread the wealth of his reward/elixir to those who cross paths with him. Which ever be the case, the powers of the elixir must be distributed among the needy, and not monopolized by the hero or his companions.

Reaction.

Vogler's decision in mentioning the part of the Reward stage he dubs

"Clairvoyance" peaks a particular interest to me. Although Vogler explains the true meaning of the word clairvoyance, it seems he took slight chance at confusing his readers by using the term instead of simply defining the word Epiphany. Both of the words ably describe the action of seeing clearer or higher understanding. It is interesting to me that Vogler should make attempts to separate their definitions. I also find it interesting that Vogler points out the fact that the hero may not always truly earn the elixir but may have stolen it instead. An act which could prove rather detrimental to the hero or those for whom he works.

Questions.

1. Is it possible for the upright hero's character to be tarnished if he or she is forced to steal the elixir instead of truly earning it?  After all, while committing the theft, the hero may have had to risk his life.

2. What is your thought on "sacred marriage" , or love scenes, that occurs during the stage of the Reward?

3. Which has been your favorite of "magic chases" as described by Vogler in The Road Back (page 191)?

Words.

Barbecue (176): n. 1 an outdoor meal or party at which food is grilled on a rack over a charcoal fire. 2 a grill used at a barbecue.

v. (barbecues, barbecued, barbecuing) cook (food) on a barbecue.

Sentence: The word barbecue originated from the Arawak word for wooden frames placed on posts, which translated in Spanish to barbacoa.

Clairvoyance (180): n. the supposed faculty of perceiving events in the future or beyond normal sensory contact.

Sentence: Clairvoyance is actually the French word for "to see clearly", not to see the future. 

Peer questions answer(s)...

Today

Blog: Oh, no, HoCo PoPo 5-0

Question: "If Villains are the Heroes of their own stories, does that mean all Hero's are Villains to someone else? Are we scared of ourselves?"

Answer: If you look at most stories, the Villain(s) almost always have an accomplice or accomplices, sidekicks, minions, essentially their own followers who perhaps do consider their leaders as Villains, but follow him or her anyways. Their leader is their Hero even if he does embody the "root of all evil". the Villain has gained their fancy, trust, and thus, allegiance. It really all goes by differences in the individuals preference. 

Villains really do have their own stories. Have you ever wondered the hows and whys the Villain became a Villain? Was he forced into villainy, or what is of his own choice? In reality every Archetype has a story.

I think people have experienced times in which, yes, they are afraid of themselves for various reasons. The expression I think of most when this type of fear shows up in a person is, "I can't believe I just did that!" It is as if that darker side of you, the Villain in you, suddenly took control and made you do something you normally would never do. Your fear is disguised in disbelief, shock, horror, and perhaps even some awe.

Extra Credit...

For week 7 extra credit we are reqcuired to find 3  youtube videos all of which relate to the topic of our Project II papers. My paper is on the effects of homeschooling on social development.

The first video, A HomeSchool Family, was made by comedian Tim Hawkins and is adorably satyrical.

A Home School Family.

The second video, California Rules On Homeschooling, actually deals with issues my own family experienced with the government because we practiced homeschooling. It addresses my question on whether or not home schooling is truly legal.

California Rules On Homeschooling.

Finally, the third video,  Home Schooling Overview: Homeschooling Versus Public School, stressed exactly what I feel about both homeschooling and public school. 

Home Schooling Overview: Homeschooling Versus Public School. 

Week Seven Vogler Annotation...

10.21.08

Zoah Alvarado

Vogler Annotation

Vogler, Christopher. "Book Two: Stages of the Journey". Stage 7: Approach of the Inmost Cave, and Stage 8: The Ordeal.

Studio City, CA: Michael Wiese Production, 2007. 143-173.

Summary. 

The Approach to the Inmost Cave is the stage in which the hero begins to prepare for the central most ordeal, the ordeal that marks the greatest turning point within the story itself. Vogler writes, "Heroes at this point are like mountaineers who have raised themselves to a base camp by the labors of Testing, and are about to make the final assault on the highest peak"(143). At this point the hero is forced to utilize all that he or she has learned and/or has been given. In this section, Volger uses the movie The Wizard of Oz for most of his examples, and pulls forth the ever famous Threshold Guardian archetype. The end of the stage is brought into view when the main characters become "trapped like rats"(152). 

Stage Eight, or The Ordeal, occurs inside the very bowels of the Inmost cave where the hero is facing the greatest of his trials yet. Vogler stats the very interesting phrase, "The simple secret of the Ordeal is this: Heroes must die so that they can be reborn"(155). In the stage of The Ordeal, Heroes face the possibility of death but in such an event are also given up to rebirth. The element of rebirth has the ability to generate more dramatic effects on audiences than the element of death. Vogler says the The Ordeal is in reality the "Crisis" and not the "Climax" of the story, explaining how the word "Crisis" is defined in the Webster's dictionary as "the point in a story or drama at which hostile forces are in the tensest state of opposition" (157).

Reaction.

Vogler poses a good question in Stage 7: Approach to the Inmost Cave. He asks "Who is the Hero at this point"?, giving for example how the Cowardly Lion, and the Scarecrow  both display conflicting dominant traits at the same time, temporarily removing Dorothy's character as the hero. I wish, however, that Vogler would have extended and elaborated on this segment of his book.  Furthermore, I am intrigued by Vogler's idea (or suggestion) that Villains are also heroes simply with their own stories. I have always felt a level of sympathy towards the villain because I would think about the reasons why they turned evil: were they forced into evil or was it of their own choice. I like the humanization of the villain archetype put in focus by Vogler's suggestion.

Questions.

1. Do you agree with Vogler's suggestion about the villain also being a hero but of his or her own story?

2. Is it discomforting for you to have sympathy for the villains story and point of view?

3. Is it difficult to understand the villains side as something reasonable and/or logical?

Words.

Skein(166): A quality of thread or yarn, wound to a certain length upon a reel, and usually put up in a kind of loose knot; a small cluster or arrangement resembling a skein.

Sentence: I have over two dozen skeins of worsted yarn for knitting and crocheting projects.

Extra Credit...

Today I visited the website called Random Acts of Kindness where I found a list of 7 different acts of kindness submitted by various people in the US. I found the most useful act to be the "University of Minnesota's 'Month of Kindness' " since its goal covered many different aspects of human life such as "goodwill, tolerance, plurism and openess". 

Although I can not donate blood due to the weight limit, I can, however,  perform the "Neighborhood Clean Up" and "Winter Warmth From U" winter clothing drive. Eckerd college has actually gone through with clothing drives which accept all types of clothing along with other house hold items that are still in functioning conditions. This drive usually takes place at the closing of the semester. 

Week Six Vogler Annotation...

10.14.08

Zoah Alvarado

Vogler Annotation

Vogler, Christopher. "Book Two: Stages of the Journey". Stage Five: Crossing the First Threshold, and Stage Six: Tests, Allies, Enemies.

Studio City, CA: Michael Wiese Productions, 2007. 127-141.

Summary.

  Right after accepting the call to adventure comes yet more trials and tribulations for the hero to overcome. The hero does not truly step outside the Ordinary World and enter the Special World until (s)he performs an action which provides the transition. This action is called the Crossing of the  First Threshold.  The Refusal of the Call and the Crossing of the First Threshold hold common ground in that both may at some point involve tragedy. Vogler describes the Crossing of the First Threshold as "plot point" and "turning point" (128). Here is where all the training, tools, and advice acquired from Meeting with the Mentor is first utilized. Threshold Guardians, mentioned in "Book One: Mapping the Journey", are encountered in this stage in order to add the element of a threshold/hurdle to the story. He takes for example two characters from Greek mythology: Cerberus, the three headed canine monster who "guards the entrance of the underworld"( 129), and Charon the ferrymen "who guides souls across the River Styx...who must be appeased with a gift of a penny"(129).

Enter Stage Six: Tests, Allies, Enemies. Once the hero has fully crossed over from the Ordinary World into the Special World more trials are met. These, however, are new, never before  encountered tests from which the hero progressively learns. Allies previously  unrecruited are now gained but not without the manifestation of Enemies as well.

Reaction.

Stages Five and Six had the same tone as One and Two in that all were lacking in thought provocation. The sections fail to provide new creative thoughts, but instead simply stated the obvious with little from which to diverge or branch off. Vogler recollects the Ally, Enemy, Threshold Gaurdian, and to a certain degree, the Mentor, and Trickster archtypes, but does little to recount them in new forms.

Questions.

1. Is it possibe to have a story in which the stages are reversed: The Crossing of the Threshold before the Refusal of the Call?

Words.

Shanghaied (128): to drug or otherwise render insensible, and ship on board a vessel wanting hands; to transfer focibly or abduct; to ctontrain or compel.

Sentence: Charlie Chaplin came out in the 1915 comedy movie called Shanghaied.

Peer questions answer(s)...

September 30th 2008

Blog: Welcome to My World

Question #3: " Is it necessary for an audience to relate with the hero of the story?"

Answer: I don't think it is necessary for the audience to relate solely with the hero. There are usually other major or minor characters with which the viewer(s) can connect. The story will ultimately be really dry if all the emphasis is placed on the hero and on no other element.

October 7th, 2008

Blog: Rhianna

Question #2: "Do you enjoy stories more when there is a refusal of the call or when the hero gets right into the adventure without hesitation?"

Answer: Although both, The Refusal of the Call and the unhesitant Answer of the Call, have the ability to be equally intriguing, I feel the Hero who initially refuses the call adds more grit to the story.

Week Five Vogler Annotation...

10.07.08

Zoah Alvarado

Vogler Annotation

Vogler, Christopher. "Book Two: Stages of the Journey." Stage Three: Refusal of the Call, and Stage Four: Meeting with the Mentor . 

Studio City, CA: Michael Wiese Productions, 2007. 107-125

Summary.

In Stage three, Vogler explains how even the best of heros can refuse the call. Said heros may even list the various reasons why he or she is inept at performing the task at hand "Heros most commonl Refuse the Call by statinga laundry list of weak excuses" (108). He mentions the fact that a continuous Refusal of the Call can lead to tragedy or disaster: some one close or aqcuainted to the hero may come to hard times, or perhaps die; something percious or valuable is lost. "Persistant Refusal of the Call can be disaterous. In the Bible, Lot's wife is turned to a pilare of salt for denying God's Call to leave her home in Sodom and never look back" (109). This tragedy can essentially provide the motivation need to get the hero to answer the call, and the heros towards which this happens are called "tragic heros" (109).

It is interesting how Vogler mentions that story of "The Three Little Pigs" who did not answer the call to open the door to the wolf. This is interpreted as the Refusal of the Call, or "Positive Refusals"(109), that can, on the other hand, prove beneficial to the hero and/or those around him or her.

Sometimes it is best not to answer the call, especially if th hero is not prepared to face the dangers of the unknown. Vogler writes, "...it's not a bad idea to refuse the a Call untill you've had time to prepare for the 'zone of unknown' that lies ahead"(117). Here is where the Meeting with the Mentor  becomes a crucial part. The Mentor now steps in and provides guidence and/or protection to the hero until he or she is able to walk on their own and answer the call. Vogler states, " ...that preparation might be done with the help of the wise, protective figure of the Mentor..." (117).

Even with the importance of the Mentor figure and The Meeting with the Mentor, Vogler makes an intriging suggestion. He suggests the removal of the Mentor figure altogether in order to create "special and interesting conditions for the hero"(121).

The mentioning of the Greek Mentor/Hero called Chiron, sets an excellent example for the possible effectiveness of  Mentor and/or Hero characters who posses unorthodox mannerisms. As all centaurs, Chiron expressed his wild and savage nature. However, he was also said to be "usually kind and peaceful" (119) for a centaur. Chiron is thus categorized as a Mentor prototype.

Reactions.

Vogler's suggestion of completely removing the Mentor figure falls as a unique surprise to me. As a few of my fellow classmates stated, it is next to impossible to fully remove the Mentor archetype due to its complexity and its undeniable potential to be omnipresent. In one way or another, the hero will always encounter some sort of element which provides a type of assitance in the form of guidence and/or protection. I also view in high regards Vogler's choice in pointing out Chiron for the purpose of explaining the many forms of Mentor archetypes.

Questions.

1. What is your opinion on Chiron as a "Prototype Mentor" archetype?

2. What do you think of Vogler's suggestion on altogether removing the Mentor figure in order to create a more "special and interesting condition for the hero" and perhaps the story itself?

3. Is it possible to actually eliminate the Mentor figure given its nature and purpose within a story?

Words.

Enthused (120): actual word found: enthuse; to kindle with enthusiasm, to grow enthusiastic; to go into ecstasies.

Sentence: I could not find the word "enthused" in the Oxford English Dictionary, but the word "enthuse" instead.

Revision plan...

I plan on doing the following revision to my Project One Final Draft:

1. Alter sentences to produce better sentence structure.

2. Alter sentences to produce better paragraph flow

3. Try to use words with strong meaning for each sentence...I must stop writing so abstractly. 

Ethos, Pathos, and Logos...

Pathos: Song; A Dios Le Pido by Juanes

Ethos: Song; Know Your Enemy by Rage Against the Machine

Logos: Song; What I'm Fighting For by Matisahu

Week Four Vogler Annotation...

09.30.08

Zoah Alvarado

Vogler Annotation

Vogler, Christopher. " Book Two: Stages of the Journey." Stage One: Ordinary World and Stage Two: Call to Adventure.

Studio City, CA: Michael Wiese Productions, 2007. 83-105

Summary. 

We have now moved on from the themes of archetypes and have entered the world of storytelling stages. Needless to say, The Ordinrary World can be recognized as a place of origin, the foundation of story line, the hero's background; the Beginning. The Ordinary World serves as a contrasting figure by establishing physical or metaphysical differences between itself ans the "Special World" located somewhere beyond its boarders. Vogler writes, " The Special World can only be special if we can it in contrast to a mundane world of everyday affairs from which the hero issues forth" (87).

Joseph Campbell defines the Call to Adventure as "the new energy, symbolized in countless ways in myths and fairy tales..." (99). The Call to Adventure comes in many different forms, a messages or temptation, and may or may not be very obvious to the hero. It can be also seen or known as the call to action in which the hero or herione realizes the need for change and decides to take action in order to aquire this change.

Reaction.

I really can not say much to either reinforce or pull down what Vogler strives to confer in these sections of his book. The terms, in essence, speak for themselves and there seems to be very little need for a large imagination to understand them. Most of it makes perfect sense and can be clearly illustrated in all stories regardless of origin. Even the most bare of stories still follow along the lines Vogler point out in these two chapters.

Questions.

1. Is there anything you find yourself disagreeing with Vogler in the content of these two particular chapters?

2. Has Vogler somehow left out any element(s) in his descriptions of The Ordinary World and the Call to Adventure?

3. Can you think of any story that does not follow the same lines described by Vogler?

Words.

Foreshadowing (87): To serve as the shadow thrown before (an object); hence, to represent imperfectly beforehand, prefigure. Also rarely ( of a person), to have a foreboding of.

Sentence: To have bad credit foreshadowing you is a horrible experience.

Theme(95): the subject of discourse, discussion, conversation, meditation, or composition; a topic.

Sentence: I absolutely love going to theme parks.

Wound(92): a hurt cause by the laceration or separation of the tissue of the body by a hand or sharp instrument, a bullet, etc; and external injury.

Sentence: Many people enjoy sporting their physical wound as battle scars.

Week Three Vogler Annotation...

09.23.08

Zoah Alvarado

Vogler Annotation

Vogler, Christopher. "Book One: Mapping the Journey". Threshold Guardian, Herald, Shapeshifter, Shadow, Ally, and Trickster.

Studio City, CA: Michael Wiese Production, 2007. 49-80.

Summary.

The list of Archetypes lives on, graduating from Hero all the way to Trickster and probably never stopping. Next in line is the Threshold Guardian; the protector of peace, the character standing within neutral ground wielding hi sword against villain and/or hero, possessing a dual identity but whose purpose is clearly for the preservation of a greater good. This character may not play a large  scale role within the story but still will remain distinguished among all other characters because of his or her unique purpose. The Guardian poses a threat, essentially providing a testing grounds for the hero against which he or she must devise a strategy to overcome. " They present a menacing face to the hero's, but if properly understood, they can be overcome, or even turned into allies"(49). Those threat and tests are put in place in order for the hero's character building to keep on progressing.

The Herald is the messenger, relaying valuable information back and forth between enemies or allies. This character basically embodied the circulation, preservation and distribution of information from place to place, giving announcements and rendering documentary services everywhere he goes. Vogler mention, for example, the Greek messenger god, Hermes, who "...appears everywhere as the messenger or Herald of the gods, performing some errand or bearing a message from Zeus" (56).

Shapshifters are put in place to confuse the hero and audience with its instability, inconsistency, and shifting nature. Its archetype is usually encountered as one of the opposite sex and perhaps a particular love interest to the hero. Vogler describes the psychological purpose of the Shapeshifter as expression of animus (male) and anima ( female). The aniums embodied the "positive and negative images of masculinity in a woman's dream and fantasies" , while the anima embodies " the corresponding female element in the male unconscious" (60).

The archetype of the Shadow represents the existence and war against the hero's alter ego, or mirror self. It serves as the determining contrast between the hero's opposite psych, often illustrating the hero's suppressed inner demon or repressed inner feelings. This archetype can sometimes be invoked through some sort of existing and/or festering trauma and/or  guilt.

Next is the Ally whose purpose is primarily to assist the hero. The Ally is the sidekick, the character not quite the same as a Mentor but who nevertheless provides an extra set of helping hands, advice, or insight for the hero.  He or she can be anywhere from the lowly court jester the direct partner in crime. With such an archetype set in place the audience can sense that the hero, however self sufficient and/or powerful, is still in need of some sort of camaraderie and assistance...yet another human trait.  One of the best examples of the Ally archetype is Sancho Panza, Don Quixote's reluctant squire" (72).

Reaction.

I have a particular interest in the Shapeshifter and Shadow archetypes for some reason. I think it is due to their intriguing unpredictability and the fact that they are usually illustrated as inhuman or removed from flesh ( referring to the mind, inner demons, psyche, etc, etc all which take on more metaphysical aspects rather than physical ones). I also believe that because they are widely misunderstood, their qualities demand more attention and deliberation in order to attain some level of understanding.

Questions. 

1. Are the Shapeshifter and Shadow put in place in order to add a deeper sense of mystery for the audience?

2. Do they represent only the darker aspects of the character(s) or also their human side as well?

3. Is it truly bad to have inner demons?

Words.

Protagonist (66): the chief character in dramatic work. Hence, in extended use: the leading character, or one of the main characters, in any narrative work, as a poem, novel, film, etc.

Sentence: Unlike Classic films, Modern, and Post Modern films can sometime host a protagonist that is a bit of an anti-hero.

Symbiotic (49): associated or living in symbiosis; relating to or involving symbiosis.

Sentence: Deep ocean crabs and hydrothermal vents live in a symbiotic relationship due  to chemosynthesis.

Extra Credit...

Two weeks ago and today I played on the FreeRice website where anyone can donate rice, through the UN World Food Program, to help fight hunger. For every word you guess right  20 grains or rice are donated. According to the website 129,230,500 grains of rice have been donated since yesterday and over 44 billions grains donated to todays date. I played the Language Learning subjects, got up to level 34 of 60, with a best level of 37 and donated 4680 grains of rice over the course of an hour...I think I've become addicted.

Week Two Vogler Annotation...

09.16.08

Zoah Alvarado

Vogler Annotation

Vogler, Christopher. "Book One: Mapping the Journey." The Archtype, Hero, and Mentor.

Studio City, CA: Michael Wiese Productions, 2007. 23-47.

Summary.

Vogler continues to argue the existence of what Swiss psychologist, Carl G. Jung, calls the "collective unconscious of the human race". This time he defines the terms Archetypes, Heros and Mentors to further prove his point.

Vogler defines Archetype as described by Joseph Campbell, "...biological: as expressions of the organs of the body, built into the wiring of every human being"(24). The archetype is thus essential to every storyteller and audience since it is what establishes a crucial connection between both entities. Without a fully functioning archetype acting as a translator between the storyteller and the audience there cane be no story.

The term Hero, from the Greek root word meaning "to protect and to serve"(29), is defined as "someone who is willing to sacrifice his own needs on behalf of others..."(29). Vogler states that the archetype of the Hero is represented by what Sigmund Freud called "the ego". The ego at first completely permeated the Hero, giving him or her the idea that they are distinguished from all the rest through some kind of separation, be it physical or mental. The Hero's journey generally addresses all the turn of events in which he or she act out in their separate identities only to discover, in the end, that they are incomplete by themselves. The Hero is the archetype put in place to attract the most attention and illustrate the story. This character is needed to bring the human ( or inhuman) element into the story and translate it to the audience in a way in which they can relate.

The Mentor is typically the "Teacher", be it male, female, genderless, in the flesh or in spirit. This character provides guidance that is crucial to the development of the Hero and usually does not draw very much attention from the audience except for when stepping in to help. The Mentor is usually  depicted as a much older person, one who has gained knowledge and wisdom from years of experience and passes it on to to the young (sometimes scornful) pupil.

Reaction.

I am glad that Vogler uses the term Archetypes when describing the nature of a character instead of the word stereotype. Stereotypes restrict character possibilities and cut short the truth(s) behind them. Using an archetype, however, opens up the field of possibilities, greatly broadening the creative potential because it does not follow a set conformity. Archetypes are so multifaceted they are more ably fitted to the real world. For this reason an audience is more likely to relate , and prefer, a character based on archetype rather than on stereotype.

Questions.

1. Do you think stereotypes are very limiting to the story when applied to a character?

2.  Should the Mentor be an ambiguous figure or should he or she carry some focus besides the Hero?

3. Can a Mentor also be the "Villain" in that the evil person teaches the Hero a moral lesson although attempting to destroy him?

Words.

1. Anti-Hero (34): (Noun); a central character in a story, film, or play who lacks conventional heroic qualities.

Sentence: Humphrey Bogart, who plays Rick Blain in the famous movie Casablanca, is my all time favorite anti-hero.

Week One Volger Annotation...

09.08.08

Zoah Alvarado

Vogler Annotation

Vogler, Christopher. "Book One: Mapping the Journey." A practical Guide.

Studio City, CA: Michael Wiese Productions, 2007. 3-20

Summary.

In this chapter Vogler strives to establish the fact that Joseph Campbell's book, The Hero with a  Thousand Faces, provides the basic structure on which all storytellers/storymaker, modern or otherwise, construct story lines about a given hero and/or heroine. Campbell, following the ideas of Swiss psychologist Carl G. Jung, states how the subconscious human mind, despite cultural difference, follow similar and repeating contours, similar elements, in terms of how stories are played out. Jung dubs this phenomenon "Collective unconscious of the human race" (4), explaining that it is what has caused so many myths, famous or obscure, native or foreign, to have such similarities in content. Campbell believes it is also due to a universal symbology, or ideology, possessing a power to converge even the human mind which created such high level of conformity. The term "mono-mythic" is coined and used when touching the subject of "heroism", suggesting the idea that every human will experience a series of analogous events in the course of their lifetime.

The Hero's life is threaded through twelve themes Campbell calls" The Stages of the Hero's Journey" (8), each serving to pin point and peak a series of important event that help string along the story. Within these series of "stages" is Crisis and Climax, setting in motion a sort of emotional roller coaster for the hero which will be transmitted to the audience. Probably the most noted of "stages" is the part of the climax screenplay in which, before returning to his original place of abode, the hero willingly shares, or is forced to illustrate( to prove his "coming of age"), the existence of his newly acquired knowledge and wisdom to those around him. In general, however, the outcome of a story is still for the hero to come to a form of self realization, a maturation, both physical or mental, towards the end of his journey. (Vogler notes the fact that some modern types [mostly comedy] will produce a hero who does not learn from his or her experience but continues to trip on old mistakes.)

Reaction.

The topic of a converged human nature coming from this book is rather fitting at this point in time since it ( coincidentally?) coincides with the current QFM course examination of a general human consensus of ethics. It further generates thoughts on just how united we as humans really are despite our cultural or circumstantial differences. It illustrated the innate human need for inspiration, something to look up to for hopes and aspirations, the general need for beneficial changes whether in a single persons character (inner or outer), or an entire congregation. It, in a way, gives a small definition of what it means to be human.

Questions. 

1. Is there really any such thing as race except for the human race?

2. Are all myths completely myths or do  few contain some level of veracity?

3. Where could have the "collective unconscious of the human race" come from? And how could it have come to be?

Words.

Archetype(4): the original pattern or model from which copies are made: prototype

Sentence: That book is an excellent archetype of it genre

Monomyth (4): An archetypal myth; a theme that underlies a number of superficially different myths.

Sentence: Pandora's Box is a great example of a monomyth.

Resurrection (17): the action or fact of rising again from sleep, decay, disuse, etc. ; revival, restoration to previous status of vogue.

Sentence: I love the story of Osiris' resurrection.

What Disney Character would I be?

Although I absolutely loved Disney as a child, I now believe that its cartoons ( which are largely altered from the original story line) influence unrealistic and shallow outlooks and expectations on life towards its aimed audience (which are generally children). 

Nevertheless, Disney's Beauty and the Beast is the only exception. This is because I find it tries to teach the search and acceptance of inner beauty rather than just a story about two characters who fall in love over each other's aesthetic inclinations.

The only character I compare myself to would be Belle (removing all aspect of physical beauty of course). This is because she's such a book worm, loving books just as much as I do. She doesn't care that the whole town is watching her, finding her peculiar  in all her geekiness, but goes prancing around the village "with her nose stuck in a book".  She doesn't flirt, doesn't preen, and is comfortable standing out from the crowd. She's completely down to earth and she refuses to associate herself with the shallow, and pretentious crowd.