4 modes Rhetorical Analysis

Andrew Biersack
11/20/08
Robinson
Rhetorical Analysis

Mode 1 (Artwork):
One of the pieces I found to fulfill the artwork mode is a unique piece that is not traditionally thought of as artwork but performs the exact same function. For the artwork mode I chose a picture of signs that liter the highways in Southern California and along the border that display crossing of the border as prohibited. In my opinion, it represents the United States attitude towards “border crossers” illegal immigrants as prohibited. Its purpose is to inform anyone who reads it about the illegal nature of crossing the border undocumented. It argues crossing the border by Spanish speakers undocumented is prohibited by law, and consequently wrong. The intended audience is people who speak Spanish of any age, gender, etc. Furthermore the ethos appeal of this sign is the fact that it is a federal highway sign approved and paid for by the United States government. Next, the pathos appeal is the facts that it plays on the issue of immigration on which both sides opinions are very passionate. From the intended audience’s point of view it is offensive and invokes anger at the U.S. government for supporting something so clearly discriminatory. A logos appeal is the fact that it is an official informational sign like a stop sign. These rhetorical appeals are quiet effective in this piece as there is physically very little to it, but huge implications and assumptions behind it. I would use this piece in my presentation to help teach the audience about the large discriminatory factor that is much a part of the undocumented immigration debate. It can be used to prove to those that feel the U.S. does not discriminate against immigrants that the contrary is true.
Mode 2 (song):
In particular Ricardo Arjona’s song “Mojado” is a beautifully written and performed account of any given Mexican risking their life in the perils of crossing the border into the United States undocumented. The overall argument or purpose of the song is to entertain, of course, but also perhaps to educate about not only the horrible reality a human being faces trying to transgress the United Sates border undocumented, but also the emotional difficulty and pain involved as well. The audience for the song is most likely Spanish speakers some way affected by or involved with undocumented border crossing. One rhetorical appeal, ethos, is the fact that its written and performed by Ricardo Arjona a Spanish native himself, a person with intimate knowledge of the struggle people face attempting to cross the border. Likewise this song has its strongest appeal in pathos, as it plays to the emotions of fear, sadness and anger known all too well by anyone that has experienced the situation of which the song speaks. Its logos appeal is the fact that it recognizes the action of undocumented immigration as “illegal” and emphasizes the consequences for breaking the law. The rhetorical appeals are effective in this presentation but rely heavily on the pathos appeal to the audience. I could use this piece in my presentation to teach people about the far less known, challenges, struggles, and dangers that people, many of which honest and hardworking face to come to this country and explain how discrimination and persecution feels to them.
Mode 3 (Film):
Another mode film has far reaching capabilities and for this I chose the film A Day without Mexicans directed by Sergio Arau. Though the film can be categorized as a comedic satire, its message is serious and sincere. It deals with the issue of undocumented immigration by looking at the unique question, what if there were suddenly none. Briefly the film’s argument or purpose is that despite public or political opinion, undocumented Mexican immigrants are not only important and unappreciated, but they are vital to the world’s fifth largest economy, California. In particular the audience specific to this presentation is Mexicans and Americans, citizens and undocumented’s alike, all of adult age. First ethos is apparent in the presentation as its director, Sergio Arau, is a Mexico native who immigrated to the United States and is a highly educated and award winning director. Since he is accomplished and educated, people trust or at least listen to Arau. Also not to mention the fact this film is the second highest box office in the history of Mexican Cinema. Second the pathos of this presentation is the strongest and most apparent appeal because it plays on the strong emotions felt both by the underappreciated Mexicans and the formerly discriminatory citizens of California. There are little logos to be found in this fictional comedic satire but it does operate somewhat on the logical realistic repercussions of instantly removing one third of the population from California, the jobs formerly performed by Mexicans lie dormant for example. The pathos appeal is very effective and perhaps has the ability to change a few minds from one side of the debate to the other having “felt” or “experienced”, through this film, the feelings that are reality for those directly involved in the conflict. Although it is a fictional film, perhaps it can be used to teach others about illegal immigration by providing a non threatening, comedic forum in which to open and possibly discuss the immigration debate and to point out that whether beneficial or detrimental, these immigrants are vital to the economy.

Mode 4 (book):
In general books are the most in depth of the modes and are able to provide more explication rather cause the reader/audience to infer meaning and for this mode I chose Undocumented Mexicans in the United States by David M. Heer. For the most part Heer’s novel analyzes the statistics of a unique, recent survey and study conducted in the Los Angeles area concerning legal and illegal Mexicans inside the United States. On the one hand, Heer aims to objectively present and analyze the data for the audience. On the other hand he also offers a multivariate analysis of the impact of legal status on the hourly wage, hours worked per year, and annual earnings as well as policy options and their likely consequences. Granted the information contained within is useful in a plethora of ways and for many different groups the specific audience is Americans involved in the immigration debate including civilians and government personnel alike of adult age and moderately educated of high school or more. In particular the appeals to ethos for this presentation are the fact that it was published by the highly respected Cambridge University Press. For the most part this piece seeks to be as objective as possible therefore limiting the scope and effect of the pathos, if any, in the presentation. As for the logos it can be found in the many representations of factual statistical data presented in the novel concerning government polls and studies of the Mexican population. Particularly the ethos of the publishing company and the thorough statistical logos are highly effective, providing balance to the rest of the modes which rely more so on the pathos appeal, thus making my presentation more rounded. Ultimately this mode can be used to teach people about my topic of Illegal immigration in the United States by providing accurate factual data to present, and support claims made about the benefit and/or detriment of their presences in the U.S. Also this mode brings balance to the argument/claim of the overall presentation by providing needed facts and logos.

Annotated bibliography #11

Andrew Biersack
11/16/08
Robinson
Annotated bib. #11

Vogler, Christopher. The Writer’s Journey Mythic Structure For Writers. Studio City, CA: Michael
Wiese, 1998. 293-312.

Summary.
At this point Vogler has completed the text of his novel and these sections are a quick commentary on the Writer’s journey and subsequently the Appendices section called Stories are Alive. In the first section, Vogler takes the opportunity to relate the extensive Hero’s Journey he just covered and relate it to the journey he undertook in writing this text as other authors do. He claims that the Writer’s Journey and the Hero’s Journey are one in the same and relates writers to the Shaman of old, travelling to “other worlds” and bringing back information to the tribe. He expresses his belief in the true powers of words and their power to heal people among other things. The proceeding section he explores his claim that stories are alive and respond to human emotion. Writing itself allows us to build upon the wisdom, knowledge and accomplishments of those before us a “stand on their shoulders” to achieve something even more. One reason he likes stories so much is because of the hard questions these plots, characters, and adventures make us ask ourselves and compare. This leads him into analysis of Disney fairy tales and uses the extended example of Rumpelstiltskin, which he gives an overview of. Then Vogler emphasizes what he calls, the “power of wishing”, as a key structural tool in getting the audience orientated and ready follow the journey ahead. This transitions into his discussion of “Wants vs. needs” in stories which are a great way to show character development and are set up to continue the story after the wish phase. Usually the hero originally wishes for something they desperately want, triggering the adventure, and along they way through tests and ordeals they grow, mature, and/or prioritize and the desire is changed to something they need in their life like knowledge or understanding.
Reaction
First I must admit I agree with Vogler’s claim about the importance of written language, its cumulative power and the immensity of different things something that seems so simple can allow human kind to achieve so much, but object to his analogy of writers as “healers”. In exactly the same fashion that words can heal than can be used to spread fear, anger and hate and even mobilize an entire nation on a mad global conquest resulting in the deaths of millions as a result of persuasive propaganda. The power lies within the human being whom controls the words, not the mere existence of words themselves. He was a bit vague in his reasoning for the Rumpelstiltskin example and I missed the point.
Questions
1. Does a wish ever come at the end of a story?
2. Are the characters wish(es) always considered and/or granted?
3. Do we wish for the same things as characters in stories?

Reflection & Action

The rhetorical analysis of the four different modes depicting illegal immigration into the United States from Mexico allows several different aesthetic views to the same issue. They convey emotion and pathos rather than simply fact. I'm still a little unsure as to my desired interviewee, but i think i will know for sure after contacting the Mexican American association at USF. Or possibly turning to a family member for a more interesting (to me) account of first hand experience. As of now I plan to combine my information, and research into a cohesive display either physical or electronic (i.e. poster board or power point).

Annotated bibliography #10

Andrew Biersack
11/9/08
Robinson
Annt. Bib #10
Vogler, Christopher. The Writer’s Journey Mythic Structure For Writers. Studio City, CA: Michael
Wiese, 1998. 231-291.

Summary
In this section of Vogler the discussion of the Hero’s Journey and the archetypal stages has concluded and he now switches focus to Looking Back on the Journey. It takes this opportunity to warn other writers about the perils of following too closely the guidelines aforementioned. He stresses creativity and originality in using these models for each individual story. He also uses extensive film examples to demonstrate his points from films such as; Titanic, the Lion King, Pulp Fiction, Full Monty, and of course Star Wars. He delves deep into these well known films and exemplifies every nuance of material he’d previously covered to demonstrate the variety of ways this same structure and archetypes can be applied so creatively in very different stories with even more different characters.
Reaction
I felt that in this section Vogler went very in depth with his explication which helped to clarify a few unresolved questions stemming from previous chapters. It was a very thorough wrap up and summary of his novel thus far. His choice of films were quiet wise as the general spanned the variety of genres and most people saw at least one of them.
Questions
1. Can a good story ever be something completely separate from a hero’s journey?
2. What does our desire for a circular, repeating story pattern say about our collective societal psyche?
3. Is there a limit to the variations of the hero’s Journey?

Annotated bibliography #9

Andrew Biersack
11/2/08
Robinson
Annotated bib. # 9
Vogler, Christopher. The Writer’s Journey Mythic Structure For Writers. Studio City, CA: Michael
Wiese, 1998. 197-228.
Summary
In these sections of the Vogler text, he discusses Act three of the hero’s journey with the archetypal stages of The Resurrection and Return with the Elixir. A dramatic function of the Resurrection is to fulfill the audiences need at this point in the story for another death/rebirth moment of the climax, whereas the previous stage dealt with the crisis. There is a need for the hero to undergo some sort of transformation in order to return to the Ordinary World and making that transformation visible to the audience without simply telling them is the writer’s dilemma for this section. A new personality or a physical “cleansing of death” from the hero’s body are ways of demonstrating this. He addresses the curious need for two Ordeals or a crisis and climax. The demonstrate the characters gaining of the knowledge in the Special World and bringing it back into the Ordinary World is a feat all of its own. Often times a “showdown” is inserted here, a final battle with death in which the hero must exhaust all of his skills and resources just to survive. The hero very often survives save for the case of tragic heroes, which Vogler addresses on page 200-201. Another way to show a change is giving the hero a very difficult choice in which his new, true character is revealed, similarly in romantic movies. Vogler discusses the various types of climax other than the tradition explosive, dramatic scene. Some are “quiet climax’ where a “crest of emotion” lets us know all the conflicts have been resolved. There are “rolling climaxes” where multiple subplots require attention in tying up the loose ends, but all should present the audience with a feeling of “emotional breakthrough” according to Vogler. Catharsis is described as the final culmination of the character arc, the gradual process the character undergoes throughout the story of which Catharsis is the climax. Resurrection stage usually necessitates a sacrifice of some kind from the hero; whether it is sacrificing an old vice, habit, or belief. The main dramatic function of The Return for the hero is “implementing change in your daily life and using the lessons of adventure to heal your wounds.” He describes the two main branches of story endings, one preferred by the West and the other by the remaining world, usually. The circular and the open-ended approach; the circular tends to have a sense of closure and the other leaves unanswered questions or conflicts, though a sense of growth about the hero is apparent in both. Another main difference between the Return and other stages, as it shares main qualities with several other stages, is “it must finish your story so that it satisfies or provokes your audience as you intended” (pg.219). The return is also a keen place for a surprise, as the audiences rarely expect one here. Vogler goes on to describe the many varied ways in which writers conclude stories, many of which contain pitfalls. Heroes often are “sadder but wiser” and sometimes “sadder but no wiser” in reflecting upon the elixir as a representation for the cumulative journey or lesson which must untimely be shared. Too many endings, abrupt endings or unfocused are forms of endings that often contain pitfalls. He mentions the function of epilogues needed to perform the same functions as the Return in stories that disallow traditional wrap-up.
Reaction
In these sections of the Vogler text, he pays more attention to the traditional linear and cyclical natures of the Hero’s overall journey and gives reasons for these stages as functions of the journey as a whole. For example the sacrifice is to serve a certain purpose to allow passage back to the Ordinary World thusly allowing the story to end. Vogler uses a good variety of film examples in the Resurrection text, wrapping it up again with the Wizard of Oz reference. He also demonstrates the concept of the character arc in a couple different visual representations.
Questions
1. Why is the Hero not guaranteed passage back to his Home, the Ordinary World?
2. Why must the Elixir always be shared in some form or another with the Ordinary World? Is it because it is the Ordinary World which birthed the hero?
3. Do heroes ever keep the Elixir in addition to deciding not to return their Ordinary World and instead forge on?

Plath reading One good paragraph

Andrew Biersack
10/28/08
Robinson
Plath reading one paragraph

In this section, chapters nineteen and twenty of Sylvia Plath’s novel Bell Jar, the reader is precariously dropped into the rather unusual life of one Esther, a resident of an eastern seaboard asylum. Esther recounts her series of unfortunate luck concerning her life while attempting to leave the asylum and get her life back on track. On one of her visits to town she meets a man named Irwin, a young well to do professor with plenty of luck with the local women, and after some wining and dining she resolves to bed Irwin. As Esther loses her virginity her usual bleeding gives way to hemorrhaging, but fearing rejection she keeps quiet about the severity of her situation and asks to be taken to Nurse Kennedy’s flat where her asylum companion Joan was currently residing. There she collapses and is tended to and returned to the asylum. Her terrible luck continues when she is awoken, finding herself in the asylum, and being told that her caretaker, Joan, has committed suicide. Concurrently, Esther is awaiting her final interview to determine whether she will be released and allowed to return to college, fulfilling her dream of returning to normal life and the support of her mother. Feeling guilty and questioning if he is the cause of the women’s misfortunes, Irwin visits Esther in the asylum and bluntly asks is his dating of Joan and later Esther was the cause for their misfortunes. Esther assures him he is not, asks him to cover her bill at the asylum and promptly dismisses Irwin forever. Esther attends the funeral of her friend Joan and is taken in by the scenery of the place she is committed to leaving and finds the courage to face the interview with the panel of doctors. Though the events are rather horrible and startling, Esther faces them rather unchanging throughout these chapters with a confidence from within. Esther perseveres through these trials and we are unaware whether or not she release is granted but are left with the feeling that regardless, Esther will be fine all the same.

Annotated bibliography #8

Andrew Biersack
10/28/08
Robinson
Annotated bib. # 8

Vogler, Christopher. The Writer’s Journey Mythic Structure For Writers. Studio City, CA: MichaelWiese, 1998. 174-195.

Summary
In this section of Vogler, he analyzes the archetypal stages of the Reward and The Road Back in the hero’s journey. Very often after having faced death in the Ordeal, Vogler comments that many stories have some sort of celebration in this section, reminiscent of recounting the adventure around a campfire with his allies. Also, as reward many heroes now experience their chance at a love scene or sacred marriage. Next, the hero finally comes in contact with the object for which they’ve risked their lives and more often than not it must be taken, he also calls this by the name “seizing the sword”, referring to the hero taking and sometimes even stealing their reward after facing the Ordeal. Surviving the Ordeal raises the hero to a new status and Vogler discusses the many ways in which stories portray this initiation of the hero into the elite group like battle field promotions or knighthood. The hero is “re-born” from the Ordeal and has new perceptions as death has the tendency to sharpen reality for those who tempt it closely. Vogler calls it by several names; self-realization, epiphany, clairvoyance, but they all refer to the hero’s new found powers or perceptions that are a result of facing death. However these affects can have negative consequences Vogler warns like inflamed ego or arrogance. The dramatic function of the Road Back is to re-dedicate the hero to the adventure. Another very important function of this section is to restore the energy of the story after the slowing and recap experienced after the character(s) survive the ordeal. This should inflame the pace of the story and continue to arouse the audience to the finish. One large aspect of this section is the very popular chase scene, usually from retaliatory villains. Vogler finishes by describing some of the variances in the chase scene from certain movies and literature.

Reaction
In the section of the Ordeal and The Road Back, Vogler returns to the style of using a wide array of feature films to demonstrate his points and elaborate, which I felt makes a positive impact on the reader’s comprehension. Although, he still continues to end with the fall back symbol ever present in the Wizard of Oz, which I feel is an effective wrap up but not enough to wholly sustain a chapter. Also, I feel he focuses his examples on the cases of the action heroes, with the few references to archaic love films that to do not ring familiar in our generation’s ears.
Questions
1. Are there instances where the Hero is stiffed completely on his or her due reward? Or is ultimately the gift of lift or revelation thereof to the hero the real gift?
2. How can a hero be assured that they’ve gotten their reward when it is intangible? The exception of course being knowledge, as it is intangible yet still perceivable.
3. Do heroes ever absorb the pursuing entities rather than combat them?

Annotated bibliography #7

Andrew Biersack
10/18/08
Robinson
Annotated bib #7

Vogler, Christopher. The Writer’s Journey Mythic Structure For Writers. Studio City, CA: Michael
Wiese, 1998. 143-173.

Summary
In this particular passage, Vogler discusses The Approach to the Inmost Cave and The Ordeal, some of the most important stages of the journey. The functions of this stage include but are not limited to, making plans, reconnaissance on the enemy, organizing, arming etc. basic preparations for the battle to come. For most adventurers they sneak in a quick love scene in this section. Some heroes, though rare, take the bold approach and stride in openly to face danger, but for others this is a time for preparation. Another set of obstacles await the hero(s) and their allies as they are fully in the Special World now and subject to the Shadows games/attacks. Threshold Guardians accost the hero and past experience may be required to gain passage or a “befriending” (finding humane connection) with the Guardian is necessary. This serves to demonstrate that not even the magical hero is exempt from the rules/ traditions etc. of the Special World. In the preparation for the Ordeal, its important, says Vogler that the characters leave with a sense of balance excitement and fear. He describes dramatic complications which are setbacks experienced in this section that seem to divide but are truly just another test of willingness. Another function is to up the stakes and re-dedicate the band of hero(s) and allies. Reorganizing of the group of heroes itself may occur here, some characters may switch masks. Finally the “no exit” piece of the stage, the final capture of the hero into an inescapable corner where the ultimate confrontation with death must be faced. The next stage, The Ordeal, deals with this confrontation with death that the hero faces. Vogler distinguishes between the Ordeal or the crisis as different from the climax of the story. The former is the main event of the story or at least the second act and the latter the main moment of act three. He describes the different ordeal delivery structures like the central crisis, providing symmetry and demonstrating the consequences. Another style, the delayed crisis allows the building up until the last minute and closely mirrors the Golden Mean (3:5). Often times a witness to the heroes’ “death” so the audience experiences it with the witness to then later find out he survived “the rebirth”. He then elaborates in the various methods in which characters of different genres “face death” and are forever changed being “reborn”. In some stories it has more to do with love and relationships rather than actual hand-to-hand combats involving real death, but the author structures the story so that the ordeal involves the death of a character, perhaps a personality or lifestyle. Obviously he explains the importance and functions of the Villain or Shadow archetype, which is critical in this stage as they give the hero someone to battle and give balance. Heroes must face their greatest fear, which just often happens to be death.
Reaction
In the first section, the Approach to the Inmost Cave, Vogler switches his writing style somewhat from statement to explanation to embedded “messages” he spells out in the text. Also, he changes from using several, varied examples crossing all the genres of literature and film to only using the example of the Wizard of Oz to exemplify his point. While it is an accurate depiction, it limits the ability of the reader to fully grasp the stage, as was easier in the previous sections. In the next section, The Ordeal, I had a rather visceral reaction to the first line of his paragraph in claiming that the main focus of the section is “Heroes must die so that they can be reborn” This is ridiculously cliché and very inaccurate. Most heroes do not literally die; it is a stupid description that rarely fits transposed onto this scenario because it fits with his description of the hero always facing life-or-death Ordeals. I simply feel he could have found a much more accurate depiction of the dramatic function of this archetype.
Questions
1. Do characters/allies ever abandon the hero at these newer, more terrifying tests of the approach to the inmost cave?
2. Do you, as a reader, prefer Vogler’s former style of multiple examples or do you prefer his long one example of the Wizard of Oz?
3. Is there any story where the Ordeal or Crisis occurs at the beginning or in Act One?

Annotated bibliography #6

Andrew Biersack
10/12/08
Robinson
Annotated bib. #6

Vogler, Christopher. The Writer’s Journey Mythic Structure For Writers. Studio City, CA: Michael
Wiese, 1998. 126-141.

Summary
In this section of Vogler he discusses the fifth and sixth stages of the hero’s journey which are Crossing the First Threshold and Tests, Allies, Enemies. Here Vogler makes clear that the final and most critical function of Act One is the First Threshold which effectively starts the “action” of the story. Heroes typically do not receive their gifts and/or advice from their mentor and take off gung ho into the adventure, though some do, they usually continue to avoid or resist. Often an external force or internal force or both acting upon the hero make that final push over the first threshold, causing them to make an unchangeable leap of faith. Threshold guardians can appear anywhere in the story but they most often block narrow passage ways, forcing the hero to deal with the aspect they represent. “The Crossing” as Vogler explains, is the crossing of the border between worlds, often resulting in a “rough landing” or crash into the new world. The Tests, Allies, and Enemies lie in the Special World which should always stand in stark contrast to the Ordinary World even if the hero remains physically, there must be new emotional territory to explore. This new world is almost always more dangerous with higher stakes. The important function of this stage is testing the hero, but to a lesser degree than the life or death situations they will face ahead. How a hero escapes a trap, their judge of character, “true” character under pressure, and ability to adapt to the new rules is all tested. This is also the time for establishing a sidekick or team and gaining knowledge of the enemy. Watering holes, bars and/or saloons are extremely common in this stage in stories as they are natural congregation places, in even nature and allow the hero to recuperate, pick up gossip, make friends/enemies, observe, and confront. They are also synonymous with sexual intrigue and gambling, important facets to revealing character.
Reaction
In the first section, Vogler again drifts away from using contemporary examples of film or literature to make his point. It made it more difficult to fully grasp his concept of the Threshold Guardian archetype. Fortunately he discontinues this in the next section returning to very clear, contemporary or at least popular references to support his claims. For example Star wars and Casablanca. The clarifying example repeated by the Wizard of Oz is usually enough clarification though.
Questions
1. What role does the Mentor archetype play in these stages or is he absent?
2. Does a hero ever fail these “preliminary” tests and turn back?
3. What are the criteria for an ally?

Annotated bibliography #5

Andrew Biersack
10/5/08
Robinson
Annotated bib #5

Vogler, Christopher. The Writer’s Journey Mythic Structure For Writers. Studio City, CA: Michael
Wiese, 1998. 107-125.

Summary
In this section of the Vogler text, he continues with his in depth analysis if the multiple stages of the Hero’s Journey, focusing here on the Refusal of the Call and Meeting with the Mentor stages. At the heart of the Refusal of the Call stage is fear. Fear in the hero about the dangerous or unknown voyage ahead, or simply to instill fear of the voyage into the audience. This fear and/or uncertainty force the hero to evaluate his/her plan and the voyage itself often outlining the objects, helpful to the audience. Heroes very often reuse or avoid the call to adventure until a greater motivation is issued but prolonged refusal, like dwelling in the past or denying reality, leads to tragedy. Another obstacle for the heroes in accepting the Call, is there is often more than one or even conflicting calls to action in which the hero must choose or compromise and occasionally, wisely refuse. This is an example of a positive refusal like in the story of the Three Little Pigs refusing the wolves demands. As for the “Willing Heroes” the fear and danger brought to light by the hesitation or Refusal of the Call still is shown, but now through other characters warning or cautioning the hero to avoid and stay. This fear is used against the hero or re-issued by the Threshold Guardian who attempts to stop the journey. Threshold Guardian often issues a dramatic question of is the hero good/strong/smart enough to survive? An audience in suspense will surely be more interested. The other section, the Mentor stage focuses on the many functions and forms of the Mentor. Their functions include but are not limited to; protecting, guiding, training, teaching, testing, and providing gifts. They also give the Hero the confidence they need to overcome the fear of The Refusal or the Threshold Guardian. The other crucial dramatic function of the Mentor is to get the story rolling, and “unstuck” the story in times of slump. An important quality in a Mentor, to the purpose of the story, is an enthusiasm for learning, often transmitted to the audience, getting them enthused about the hero’s journey. Another aspect of the Mentor is the flexibility of the archetype and therefore leads to other characters, like villains and antagonists, to wear the mask of the Mentor to mislead or betray the hero.
Reaction
In these sections I’ve noticed a narrowing in the formerly broad scope of genres incorporated in Vogler’s point examples. He still communicates his point clearly but with less effective real life examples. He continues his use of the Wizard of Oz example as it is very clear the different archetypes, their functions, and the stages.

Questions
1. What are some examples of a Mentor, misleading or betraying a hero?
2. How does it change the mood or progress of the story when there is an absence of an external physical Mentor?
3. What is the process, if any, that a character or Hero goes through to determine the appropriate of Conflicting Calls to answer?

Revision Plan for Project 1

Editing:
1) In the middle of paragrpah one, there needs to be a comma before the fan boy because I want to connect two independent clauses.
2) In paragraph two, since its not a quote the comma goes inside the quoatation marks.
3) In paragraph three in the second sentence there needs to be a fan boy with the comma because it is joining a comlpete sentence with a dependent clause.

Revision:
1) in paragrpah three I need to focus all of my sentences to the same end. They must work together, in the same direction, to guide the reader to the right place.
2) Paragraph four needs different word choice for more description or explanation to amke the point clear.
3) Paragraph nine needs "un-packing", more description to convey the gravity of what has happened. I need more explanation to the reader so they understand and feel what the character/ hero does at that time.

Annotated bibliography #4

Andrew Biersack
9/28/08
Robinson
Annotated bib #4

Vogler, Christopher. The Writer’s Journey Mythic Structure For Writers. Studio City, CA: Michael
Wiese, 1998. 83-105.

Summary
In book two of the Vogler text, he switches focus from the archetypes found in characters throughout stories and begins to focus on the stages of the Hero’s Journey; specifically that of the Ordinary World and the Call to Adventure. It comments that the beginning of the story is actually the most complicated piece because of the many multi-lateral functions the Ordinary World must satisfy. Its purpose is to hook the reader, set the tone and direction, and portray background information about the hero critical to the audience’s ability to relate to the hero, all without slowing the pace. Vogler discusses how many of these elements are effected/ portrayed to the audience even before the first line or opening scene. He is of course referring to the affect that a Title, opening image and/or prologue can do for setting the scene of what is to come. The importance of making the Ordinary World as different as possible from the Special World is stressed here, as doing so will allow the reader to experience the most dramatic effect. For example Vogler cites The Wizard of Oz and its transformation from black and white to stunning Technicolor as Dorothy transitions worlds. Foreshadowing presents an interesting method to presenting the Ordinary World, while still keeping the audience involved. According to Vogler, this section should raise the dramatic questions about the hero’s emotions that hook the audience into the hero’s story and keeps them interested. He also describes the need for hero’s to both Inner and Outer problems to be complete, interesting heroes. The hero needs to not only complete his physical action (bring loved one back home), but he needs to learn something in the process as well to appeal to the universal archetypes. Next he discussed the Hero’s Entrance and introduction to the audience and the unique opportunity it presents to get a wealth of information across about the hero’s “attitude, emotional state, background, strength, and problems,” subtly without losing audience interest. These should display the “universal goals, drives or needs” of the hero that allow connection to the hero. Another important method to have the audience connect with the hero is the element of the hero’s lack of an important human element or character trait keeping him/her from being whole or similarly a fatal flaw or wound. Another important factor in ensuring the audiences continued interest in the story established in the Ordinary World stage is clearly stating what is at stake; the higher the stakes the better, always. This is also a key place to state the theme of the story, “the underlying statement about an aspect of life.” He also reviews the call to adventure and the countless ways in which it is introduced from a telegram to synchronization of accidents/coincidences, that all serve to get the action rolling. Some heroes are tempted out by the promise of lust, love or fortune and glory. Often times a Mentor will wear the mask of the Herald to get the hero to rise to action, sometime in an uncomfortable way. Other characters are motivated by a lack or need, when something is taken from the hero and balance must be restored by action.
Reaction
This section of the Vogler text was clear and engaging. He uses several examples to explain his points, though some of them may be unfamiliar to persons outside the entertainment industry, the manner in which he presents them allows comprehension. It seems as though Vogler intends this part of the story to be rather lengthy in order to accomplish the many tasks, in a creative manner, which should be established in the beginning.

Questions
1. Does the Ordinary World always have to be boring? Thus presenting a challenge to the writer to keep the audience interested.
2. How much background information about a hero is appropriate?
3. Do we have real life Calls to Adventure? If so, what are some examples of such. What motivates our contemporary hero’s?

Andrew Biersack
9/20/08
Robinson
Volger Annotated Bib. 3

Vogler, Christopher. The Writer’s Journey Mythic Structure For Writers. Studio City, CA: Michael
Wiese, 1998. 49-80.

Summary
In this section of Vogler he elaborates on the archetypes of The Herald, The Shapeshifter, The Shadow, The Ally, and The Trickster. The Herald is the archetypal character that usually gets the story in motion, the one that sets before the hero the challenge or obstacle, delivering the call to adventure. The Herald is essential in every story because it provides the motivation for the character(s) to act and events to transpire. The Shapeshifter is a difficult archetype to describe and analyze simply because of its nature as elusive it doesn’t lend itself to easy, clear examples of itself. It represents of perpetually changing nature, often like that we view in the opposite sex, of characters in the story that have interplay with the hero, usually causing drama. Often times it is a member of the opposite sex, either with benevolent intent or malicious intent they mostly serve to confuse. The Shadow is effectually the villain, antagonist and/or monster of any story. Clearly the Shadow is crucial to every story, is gives the hero a foil, a reason to rise and act. The shadow however, is not merely the embodiment of evil forces, but rather that of the forgotten or repressed unhealthily festered that exists within us all. For this reason, the best villains are often the most humanized villains. Combined with this aspect, the ability of the Shadow character to be flexible enough to wear the “masks” of other archetypes allows for creativity and the creation of some very unique, interesting and dynamic characters. The shadow and hero are not merely opposites, good vs., evil, but rather, two sides of the same coin.
The Ally archetype is critical to the audience understanding of plot in many stories, the serve to inform the audience at times where it is in appropriate for the Hero to monologue details. The serve as conscience, partner, comic relief, and bring to light the “forgotten” or unexplored aspects of the hero’s character. They can run the spectrum from worthy adversary turned partner, to a fury creature or robot servant they still perform, basically the same function. The final archetype discussed was that of the Trickster. Similar in purpose to the ally, however much more often combined with the archetype to be Trickster heroes and Shadow Trickster/ Ally’s. They provide much needed comic relief but also “hold a mirror to hypocrisy of society” and challenge the status quo. In so doing, they are often catalyst characters but provide necessary jump or “life’ in the staunchest of dramas.

Reaction
Perhaps do to the difference in topics discussed; Vogler seems to have less of a wealth of examples from literature and film to precisely exemplify the archetypes of The Shapeshifter and Herald. He still conveys their purpose masterfully, allowing writers reading his novel to understand and be aware of how to manipulate these archetypes, yet lacking modern examples of such. Volger also raises some curious aspects of the shadow that add new dimensions to an archetype that can be represented so one dimensionally. The shadow character more often than not, is a product of one’s own misguided attempts/ emotions, etc. rather than simply a manifestation of pure evil.

Questions
1. Do we still encounter shapeshifters in the modern world today? If yes, what are some common types of shapeshifters that block us on our path?
2. What is it about the repression of emotions, added with time that can create something so powerful? Do people, in this manner, create their own demons?
3. Do heroes always take the advice of their Allies? How does this affect the ally character when the Hero chooses not to? A real possibility.

assignment 1

I am very unfamiliar with Disney characters as such, it is very difficult for me to compare/contrast myself to a character. The only disney tales i recal from childhood are The little mermaid and Pinocio. Since I identify neither with a liar nor a fish, im struggling to find a parrallel.
However, after reading The Writer's Journey Mythic Structure for Writers 3rd edition by Christopher Vogler, i understand the Disney characters to be a basic, blaton depiction of the Hero's Journey, according to Vogler. Then if most, if not all, the Disney characters fit the same mold of the Hero's Journey, then choosing one to identify with is essentially choosing them all in virtue. If Vogler's statements are true, and i interpret them correctly, really any character is extrmely comprable to another, in essence, aligning one's self with any character would suffice, would it not?
I would compare myself then to perhaps Marty Mcfly, the young man in Back To the Future, comes to mind. He is a young, dishevled high school student cruising through life looking for fun and everything keeps getting in his way. Marty takes it all in stride and rides the adventures life sends his way. Obvioulsy I, nor anyone else, has ever gone back in time...but the essence of the his "hero's journey" is the same. Unpredicatble circumstances bring what appear to be immposible obstacles to stand in his way and he, rather unconcentionally, escapes them by the skin of his teeth. Ultimately he realizes an appreciation for the things and life her has, a moral a think all americans could use.