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.