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.
Tuesday, October 28, 2008
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?
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?
Sunday, October 19, 2008
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?
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?
Sunday, October 12, 2008
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?
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?
Sunday, October 5, 2008
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?
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?
Thursday, October 2, 2008
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.
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.
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