annotation 4 reward and resurrection and the road back

Vogler, Christopher. The Writer's Journey : Mythic Structure for Writers. 3rd ed. Boston, MA: Michael Wiese Productions, 2007. 175-212.

Summary

Stage nine is the reward section of this structured journey. This is the part where the hero must now deal with the consequences of surviving the ordeal, and claim their reward. This can be a time of celebration where the hero replenishes his energy. in many stories here is where there is a campfire scene for jokes and boasting about the winning of the ordeal. it allows the audience as well as the hero to "catch their breath" before moving on in the story. Vogler goes on to point out that this is where love scenes can occur. Seizing the sword or taking possession of whatever is sought is then talked about in this chapter. Elixir theft is also an idea that some authors may use, where the hero must steal the reward, having a usual consequence later. sometimes the hero must be initiated into the hero name to be recognized for winning the ordeal. he may even create new perceptions due to the experience of surviving death. on the other hand, it is also the time where others may start to see the hero under a different light. Epiphany is the word Vogler uses to describe an abrupt realization of divinity. The last part of this section is distortions where the hero may "suffer from and inflation of the ego"(182). its also a denial of what has happened after facing death because of a lack of justification for doing so.
Stage ten, the road back, is the heroes decision on whether to remain in the special world or head back to the ordinary world (which most heroes do). This is the starting point to a new destination. Many struggle with the idea of going home because of the fear of losing what they have achieved in the special world by going back to common day life. this stage usually happened at the end of act II or beginning of act III. This may act has motivation to close the story by using external forces. This motivation may be shown through retaliation. a crisis can rise up stronger than before during this stage. it usually has to be stronger to keep the audience interested. Expendable friends are great for this part, according to Vogler, so that they may die when the shadow returns again. This stage may cause setbacks, pursuit of an escaped villian or a chase scene of the hero being followed by an admirer.
Stage eleven, the resurrection, is on of the trickiest and most challenging for the author to write. they writer must show not tell that the hero has been through a resurrection. This is the climax part of the story meaning ladder, not the crisis. a new personality must be clearly seen by the audience to show change. also, many stories must have a cleansing, so not to bring the death on the heroes hands into the ordinary world. the hero must bring the knowledge obtained in the special world to the ordinary world and apply it in some way to show that he or she has learned. this resurrection may also just be a last time facing death, as long as the stakes are higher than they have been throughout the story. In westerns, the resurrection is the final showdown or shootout. If the hero dies, he must live on in the memory of the survivors. This is also the place for a great opportunity to show whether or not the hero really has learned something by giving him a right and wrong choice, romantic or dual. Vogler shows that a quiet climax is possible by being a "gentle cresting of a wave of emotion"(202). The character arc is the stages that the hero went through to show the true big change that has occurred within him. Proof is sometimes needed to show others not only that you were the one to slay the dragon but also to be believed that you did slay the dragon that needed to be killed. Also, something must be surrendered by the hero in some cases known as the sacrifice. basically, it must show an outward sign that the hero has truly changed.


Reaction
I thought that this reading really takes the biggest chunk of what your suppose to be writing. it seems as though he wants to imply that this is the most important part of your writing, and we should pay real close attention. i believe this because i feel like in these three sections, he repeats himself more than ever before. in the resurrection, i thought the section would never end. i feel as though he showed every possible scenario that any author could work into the story, leaving no rock unturned. im not sure if this is a good thing or not, but it definitely showed the importance of this section.

Questions

Does there always have to be a reward?

Why is it so hard to make a story feel complete?

Is there a western that doesn't fut the vogler mold perfectly?

annotation for october 7th

Vogler, Christopher. The Writer's Journey : Mythic Structure for Writers. 3rd ed. Boston, MA: Michael Wiese Productions, 2007. 107-125.

Summary
This part of the reading started with the refusal of the call, stage three. this stage is to signal the audience that the adventure is going to be risky. Vogler also says it "forces the hero to examine the quest carefully and perhaps redefine its objectives" (108). This stage give the possibility for the hero to dodge the adventure. there can be many reasons to refuse the call and the stiffer the better. vogler comments that the audience likes to see the hero be worn down until he accepts the call. there may also be conflicting calls, where the hero must make a choice between two or more calls to adventure. some refusals may be positive when it is a call to desire of evil or disaster. the refusal of the call could be as simple as the ordinary world knows it and begins to "cling" to you.
the refusal of the call may not always be the hero himself but faces of others that cause the refusal to these described willing heros. It may be the archetype of threshold guardians that are stopping the hero before he even begins. On a final note about refusal of call, it may be a single step in the beginning or at every step of the way.
The next stage, stage 4, is the meeting with the mentor. The mentor is the source of wisdom most of the time that the hero comes into contact with before his journey. Vogler then goes into the prototype of the Chiron: man and horse mix. Chiron was kind and peaceful. this is the way of showing that mentors are connected to nature somehow.
The word mentor comes from the Odyssey as the loyal friend of odysseus. he gets the story rolling. The hero is not always grateful for the mentor and may even harm him in some way unaware that he is trying to give wisdom and help. as final note, Vogler says, " [the mentor] archetype is present in almost every story, to get things rolling with gifts, encouragement, guidance, or wisdom" (123).


Reaction

My reaction to these readings was simple. it is Vogler re asserting what he has said before and really engraving it into our brains. i think this way of writing is helpful for someone who is really trying to learn from his book. he also gives a little more that what was previously read so that people can get an understanding of how this structure can fit any story or movie, etc. in the end of each chapter, he shows the stage going on in the wizard of Oz.. this really helps with putting the stages into context to get a full understanding of what he is trying to portray.

Questions

Can the Mentor be evil?

Is there always a secret door?

does the adventure always have to be risky?

kafka quiz

1. Connect the Ordinary World and the Call to Adventure to your reading of Book 1 of _The Metamorphosis_ Explain the connection.
The ordinary world is described by talking about how he must work every morning traveling on trains selling in this case fabric. he gets up at 4 everymorning and gets on a train and goes to work. he is in debt to his boss and must work for him until he pays that off. he lives with hismother father and his sister Grete who is only about 16. his call to adventure is waking up as a monstrous vermin. he is then forced to take the adventure of living as this creature which takes him to the special world. he can't try to go to work he learns by the reaction of his manager who runs out of the house, his mother who jumps up on the table, and his father who takes a cane and a newspaper and shoos him back into his bedroom. he must take this adventure of being this creature, normal ordinary life no longer exists.

2. Are there any social issues being critiqued in the story? How does "The Red Scare" relate to Kafka's work?
social issues are certain in this story. first one i would notice would be the taking care of parents and children giving their hard earned money to the parents. its an old tradition but some families still work this way. another social issue is change. the appearance of Gregor has changed a long with his voice which has caused him no longer okay in society, he can't even leave him room. this brings about the relation to the "Red Scare." America believed in McCarthy until they saw the images of the people that he was blaming, and they began to shun him out of society out of their beliefs in agreeing with him. Gregor once able to be seen not only once but twice freak people out into being scared of him.


3. What does Gregor turn into in the story?
Kafka never really says what he turns into. The most he describes is lots of legs, brown, no teeth, hard round back, labeled a "monstrous Vermin." i think that he turns into a stranger not only to his whole family but a stranger to himself.

3 steps

3 steps to revise my paper
1. read it thoroughly
2.look at my transitions between paragraphs as well as situations
3. give enough detail so that the reader feels for my fears of going to high school

3 steps to edit my paper
1. work on my they there and because's
2. check for grammar paying close attention to flag words
3. decided what i am trying to portray is being portrayed by the words i choose to use.

http://www.youtube.com/watch?v=DgTD0QS4dO0
Get up, Stand up, by Bob Marley show ethos by giving this to the people who are fighting human rights, it has logos as the title says stand up for your rights, be an equal to all, and it had pathos, because its showing Marley's love for the people, he refers to them as his people, his followers.


http://i258.photobucket.com/albums/hh273/w107cae/celtictrinityknot.jpg
the celtic trinity represents a "trust in your soul," "belief in your heart" and "faith in your mind." This trinity forms the basis of Celtic spiritual beliefs. this shows logos in the belief faith and trust of the three representations. it shoes ethos for all celtic religion follower, and it has pathos in the love of the body and how you should believe in the way it reacts to things and people

what disney character am i?

If i were to make a decision as to which disney character i am, i would have to say Bell from Beauty and The Beast. I chose her more because of who i strive to be more that who i am today. The story of beauty and the beast comes from a French childhood bedtime story about how being vein and acting better than everyone brings you pain and bad "karma". This story I think was made to teach you about carrying yourself tall, taking care of family, and don't judge a book by its cover.
As a Buddhist, I follow similar ideals that Bell has throughout the story. These characteristics include; family matters, ability to not judge people directly, enjoying nature, among others. I believe in the care of your elders in your family especially if they take ill. Buddhism is all about not judging others with what they are or do, that they will be judged at the end of their life when their soul becomes another being. I also really enjoy nature, the beauty of it , the taking care of it, etc. I think that these characteristics are enough to be believe that if i was to be a Disney character, I would be Bell.