vogler ordinary/call

Summary

This section of reading introduces the two beginning points of the hero’s journey- the ordinary world and call to adventure. The ordinary world allows the author to create the mood, images, or metaphors in order to get feelings across and for a frame of reference. This section describes that the ordinary world should be shown how it is different from the special world or people won’t care about the transition between the two worlds. Usually the ordinary world is used to give a back story of foreshadowing future events. Finally, it notes how the hero must have something missing from his or her life, internal and external problems, and a deep wound leading him or her to the journey. The call to adventure may be in the form of a string of coincidences, a stirring within the hero, or temptations. Sometimes heroes are in denial and thus refuse the call to action or heralds appear when the heroes do not expect it. Usually the call to adventure begins when someone loses something, whether it be death, kidnapping, or the hero’s sense of identity.

Response

I found this section to describe the two points in the journey fairly well. There seemed to be some overlap in ideas with other sections that I had already read (rehashing of previous thoughts). It makes sense when it said how the author has to show something special and different between the ordinary world and special world. If there was no noticeable change, the reader will not be able to relate. As for the herald “in disguise,” perhaps a hero may refuse a call to adventure because he or she does not realize that the journey is being set up.

Reflection

When the call to action was compared to a “catalyst” the first thing that came to mind was the catalyst in chemistry terms- helps to speed up a reaction. This is exactly what the call to action does as it gets the hero to start his or her journey. Also, when the text described the exposition of the story, Galinda’s backstory in Wicked popped into my mind. The text described her background, describing that she was of “high class.” I saw the ordinary world and call to adventure in daily life as well, especially with internal struggles. When something is bothering me, I receive a call to action in order to fix it, such as if there is a fight taking place between a friend and I.

Questions

1). Describe a time when you entered a special world and then over time it became an ordinary world.

2). When has there been a time where you were given a call to action that you denied? Was the call internal or external?

3). Give a few examples of when an author (or screenwriter) has used exposition in his or her stories.

peer review

After the peer review, I realized I used “thus” like ten times throughout the paper and so I went back and changed the majority of them. Also, I expanded on why I was so interested in Marine Science to begin with, as it did not come across as evident. I also emphasized a single area that helped me to decide on a set major. Finally, I tried to get rid of material unrelated to the paper.

Strengths

1). I feel that my reasons why I had a dilemma switching majors were evident.

2). What I took away from the experience is another strength in my paper.

weaknesses

1. Work on clarifying what made marine science so important to me
2. Create more varied sentence structures

annotations- vogler 3

Summary
In this section, six roles in a story are examined: Threshold Guardian, Herald, Shapeshifter, Shadow, Ally, and Trickster. The Threshold Guardian attempts to keep a hero from entering somewhere and may act as a guard to villains or an internal demon to the hero. The Herald brings messages that set a course of events into action. The Trickster causes mischief, trying to cut egos down and allows the reader to know that a change must be created. The Shadow represents repressed feelings and emotions that one does not care for about him or herself and in the end may destroy a person. The Shapeshifter's objectives are hard to pinpoint as they are constantly changing. Allies play a part as a helper to the hero and take action when it is awkward for the hero to do so.

Response
I did not think that this section dove into the different roles too much. For the most part, several examples were given for each, but with little description. I found it interesting that a Shapeshifter does not just change form, but is revealed in a character that changes moods. Also, I did not know that a Herald can take the form of a person or force such as an earthquake. I had never given much thought before that so many types of roles are in a story until I read this book. I just wish the chapters were more descriptive.

Reflection
I saw all of these roles play a part in everyday life. Allies are represented as your friends and families. Sometimes when a person is stressed or frustrated, he or she can take on the role of a Shapeshifter lashing out at people when they are usually friendly. Heralds can come in the form of acceptance letters for a position or college or through friends who tell you something that someone else said about you. Shadows may be things like deep dark secrets that you feel as you cannot tell anyone and thus it affects your focus and wellness. These are just some examples, however all of the roles are noticed.

3 Questions
1. When have there been times in your life where you came across a Threshold Guardian? How did you make it past?
2. What is your opinion of a Shapeshifter portraying anima/animus?
3. Why do you think Goddessesare accompanied by animal allies?

hero chart

The Hero’s Journey Chart
Separation
Ordinary World- Describe the character’s world before the adventure begins.			I was an excellent student in high school and felt optimistic about my college experience- nothing would stand in my way of becoming a Marine Biologist (not even Calculus and Physics)! I would work extremely hard to get the best grades I could (3.5 GPA in the classes= goal).
Call to Adventure: How does the character receive the call to adventure? This is usually presented in a problem, challenge or adventure			I enrolled in Introduction to Marine Science and Marine Invertebrate Biology during my first semester (along with two other classes). At first, I was doing well- studying hard, taking notes, typing the notes, studying and studying long hours. Soon, however, I realized that the classes were nothing like those in high school and the exams brought my GPA down substantially, as I received “C”s in both of the classes- my FIRST ever C. Between this and the stress involved with being a marine science major (a.k.a. no social life), I knew I had to do something about it- switch majors.
Refusal of the Call: Does the character accept the call immediately? Does the character express reluctance?			I did not want to switch majors initially, telling myself that I will give myself one more chance, one more semester to turn it around. I had been wanting to be a marine scientist since elementary school. I couldn’t give up on my life dream so easily. I enrolled in Calculus I the next semester.
Answering the Call: What motivates the character to accept the call?			Considering I was unable to attain a spot in Marine Geology, I dabbled in a human development course and two environment studies courses, as I was told most marine science majors end up switching to environmental studies. Also, as I withdrew Calculus I second semester, I felt it was a “calling.”
Guide/Mentor: Is there a specific character that helps the hero understand the life situation or provides the hero with special training?			During fall semester of my sophomore year, I took another human development course as it sparked my interest, as well as continuing with biology courses. Over time, my cell biology professor took on the role of my mentor. There were several times that I went to her for advice on stress levels, what to major in, and a confidante when I had fights with my mother.
Crossing the Threshold: At what point in the story does the hero leave the familiar world and move into a new, unfamiliar circumstance?			Deciding a whole new major when I had no intention of majoring in anything other than science (or art) to begin with. I had so many options and didn’t know what to choose- Biology, Human Development, International Business, Writing, Art, Theater, and Environmental Studies were the main majors I was debating on.
SEPERATION
Road of Trials: What specific challenges does the hero face? Tests, allies, and enemies? 3	I had difficulty cutting Marine Science out of my life for other reasons, besides it being my lifelong dream. Originally I did not want to leave my home state for college, as I am close to my family, however after coming to Eckerd, I did not want to “go back.” My mother insisted that if I wasn’t majoring in Marine Science, there is no point in spending all the money to send me to Eckerd College when I could be studying at a cheaper school. Also, since I did not know what I wanted to major in, she said that I would have to come home and attend a community college until I figured it out (a.k.a. live at home). I also had the obstacle of choosing a new major, something that never crossed my mind (marine science and art were the only things that ever sparked my interest enough for a major). For a long time my mom and I fought about the topic and it usually ended up with me being in tears and resorting back to a marine science major.
Meeting with the Goddess: Does the hero meet with a character with special beauty and power?
Ordeal- Meeting with the goddess, woman as temptress, atonement with the father
Atonement (“at one with”) with or Recognition by the Father: Is the hero reunited with his or her father or a father figure in some way? Does the hero reconcile his or her beliefs or values with another’s beliefs or values?			After several discussions with my mother, we decided that it would be best to continue my education at Eckerd College as she realized that it was a good fit for me.
Ultimate Boon / Magic Elixir: Does the hero find some special solution to the problem he or she is attempting to resolve? This might be a magic potion or a key to something.			Eventually after taking a few classes, having long chats with my mentor and mother, I decided I was going for a double major in Biology and Human Development
RETURN
Refusal of the Return: Does the hero initially refuse to return to the homeland or the place that he or she began the journey?
Magic Flight / Pursuit: Is there some point (generally toward the end) where the hero is being chased or is otherwise trying to escape something?	My mother did not believe that it is worth getting a B.A. in Biology and double major in Human Development. She continued to nag at me, pointing out several references where a path similar to this failed (aunt majoring in psychology and ended up working in a business-like setting).
Rescue from Without: Is there some point when all seems hopeless, when it looks like the hero is going to die, then suddenly he or she is rescued unexpectedly?			On several occasions, I felt there was no way to win with my mother and almost gave in to her requests.
Crossing the Return Threshold: Is there some point where the hero clearly returns “home”?			Somehow my mother and I work things out for good.
Master of Two Worlds: Does it appear that the hero has conquered life in both the familiar and unfamiliar worlds?			My mom FINALLY accepts my plan of action of double majoring. I said “forget you Marine Science!” I was now much happier (although still stressed, but not as much as I would have been).
Freedom to Live: Since the hero typically begins the journey to resolve a problem, does it appear the problem is at last resolved so that all can live freely?			I am now happily a double major in biology and human development. I learned that I loved biology too much to abandon it, yet I knew I needed a back-up plan and thus human development stepped in. Ironically, the two can accent each other and make me a stronger candidate for the workplace in the future.

Chapters 2 and 3

Summary

Today’s reading began with the various types of archetypes (hero, mentor, higher self, shapeshifter, threshold guardian, trickster, shadow, herald, and allies), describing that they are not necessarily people, but rather “functions” as a character may not hold a certain archetype throughout an entire story or have many at one time. It then goes in to describe a hero’s role, specifically stating that sacrifice must be involved, whether it be through giving up their time to help others or even death. Heroes are said to start out as completely “ego” and that throughout their journey, they learn lessons that allow them to grow as a person. Heroes must have flaws in order for them to have this growth and allowing them to be seen as a human being, but yet have unique qualities that make one want to be like them. The various types of heroes are discussed such as unwilling and willing heroes, antiheroes such as the tragic hero and heroes with “wounded” qualites, group-oriented or loners heroes, and catalyst heroes that do not overcome change in themselves, but rather in someone else. The passage then discusses the mentor’s main goals (guiding, giving deserving gifts, training, and showing enthusiasm). It further describes the types of mentors such as the fallen mentor who must follow a hero’s path themselves, dark mentors that may prove as obstacles, staying the hero from his or her path, but ultimately teaching them a lesson, and comic mentors who give advice about love. Finally, the mentor does not need to be “flesh,” as they may come in the form of a conscience.

Reaction

For the most part, I felt that Vogler’s ideas of heroes and mentors fit into stories. I do not understand, however, how a fallen mentor is really a mentor and that catalyst heroes are heroes as I feel these two character roles should be switched. It states that catalyst heroes act heroically, but do not bring about a change in themselves, thus that would be considered a mentor since the hero must go on a “journey.” When I think of a fallen mentor, I see someone who is down on themselves and thus cannot guide the hero and the hero would end up guiding them (which then makes the hero a mentor?). On the other hand, this shows that a character can have more than one archetype at one time as stated above. I did not understand how to distinguish an inner mentor (isn’t that just your conscience?).

Reflection

As I read these chapters, I kept in mind real life events rather than a set story. As for the hero, images of people in the war or parents came to mind. Those fighting overseas had to give up a lot (sacrifice) such as relationships, a job, and possibly their life. Parents also give things up for their children as raising a child is timely, costly, and stressful. Also, in terms of the mentor, I thought of my college mentor who, when I was dealing with a crisis (determining a major or classes to take), guided me and gave me advice, but would not make decisions for me. When it came to a mentor that wasn’t “flesh,” God came to mind, as well.

Questions

1. In the section “Mentors,” it describes a mentor as the “Higher Self,” yet in the “Archetypes” section, the diagram lists them separately. Why is this?

2. In the “Archetypes” section, it describes a character known as the “eternal boy.” Can you think of examples of the “eternal girl?” If not, why do you think this is the case?

3. Why do you think the text compares “succeed” to “live” and “failure” to “death?”

4. What is your opinion of a hero seeking out a mentor because his or her “parents are inadequate role models?”

A Practical Guide

Summary

The Practical Guide opens with a description on how Joseph Campbell’s book The Hero With a Thousand Faces has impacted society as authors and screenwriters have taken notice and are using many of the techniques. This chapter focuses on the “hero” and his or her “journey” in a 12 step format. The steps include 1. the ordinary world, 2. the call to adventure, 3. refusal of the call, 4. mentor, 5. crossing the first threshold, 6. tests, allies, and enemies, 7. approach to the inmost cave, 8. the ordeal, 9. reward, 10. the road back, 11. resurrection, and finally 12. return with the elixir. Basically, a hero sets out on a journey, whether it be to go on a quest or to gain knowledge. Usually, he or she is reluctant at first until another person gives him or her a “boost.” Along the way, the hero must overcome obstacles until he or she attains what was being sought after and gains a reward. Finally, the hero must return to his or her normal life with his or her reward.

Reaction

As I read the chapter, I realized how accurate the steps were to most stories I have read or watched. I had always thought that stories draw upon each other, but not to this extent. It also made me think how, even though stories have the same “sources,” they all end up extremely different. For example, the stories of “The Wizard of Oz” and “Star Wars” were used, however one could not tell that these were similar setups. It was interesting to note that the hero may not even have to leave his home to be a hero, as the quest can be something simple in which the character learned about himself or herself or about others. The chapter also compared the hero’s journey to real life, which I reflected on and saw several comparisons.

Reflection

As I read through the chapter, I kept “The Lion King” in mind. At the beginning of the story, Simba was just an ordinary cub, wanting to play with his friend rather than uphold duties. His father dies and he must “take his place in the circle of life,” (call to adventure) however Simba refuses and runs away (crossing threshold) and thus Rafiki (mentor) attempts to knock some sense into him over time. I also consider Timon and Pumba his mentors, as well. Over time, he has to learn to deal with his responsibilities and return home (the road back) after doing a little growing up. He has a battle with Scar (Approach to the inmost cave) and Scar almost kills Simba (ordeal), however, Simba ends up triumphing and becomes the King (reward/return with elixir).

Questions

1. What is your opinion of the monomyth? In what ways have stories drawn upon each other in the past?

2. What do you think are the main steps in the 12 step journey that are crucial to a good plot? Why? Does it depend on what the type of story is?

3. Give examples of times you have used this process (unconsciously) in your life.

I finished my 1000 grains of rice questions.

childhood hero

I’ll admit that I was a Disney fanatic as a child (and still am), having seen probably 98% of the animated movies. Most of the movies, however, had the typical “damsel in distress.” Jasmine, however, to me was different. Sure, she had the “Disney look,” but she also had a brain in that head of hers. She stuck to her own values and did not allow anyone to tell her how to live her life (getting married by a certain age or sneaking out of the palace, for example). She also came across as a clever character, having fooled Aladdin into telling her that he wasn’t a real prince as well as deceiving Jafar into believing she was in love with him rather than the “street rat.” I had always wanted the courage and strength to stand up for what I believed in, rather than giving into the peer pressure of others.

The other heroine that came to mind was Anastasia. She had a difficult life, having grown up in a palace, then losing everything that she held dear to her, followed by living in an orphanage for several years. Although she did not remember who she was or where she came from, she never gave up hope. Instead of sitting around and sulking about how horrible her life was, she decided to do something about it. She was determined to find the person who gave her a locket and never lost faith in doing so even when others failed to believe in her. I also, would have liked to have these traits growing up.