Vogler Annotated Bibliography #8

Vogler, Christopher. “Book Two: Stage Nine: Reward and Stage Ten: The Road Back”. The Writers Journey. Studio City, CA: Michael Wiese Productions, 1998. 175-194.

Summery
     The ninth stage of the Hero's Journey is the Reward.  After the hero makes it through the ordeal, the reward is usually signified by a celebration such as a party or a love scene.  The Reward can also be signified by new friendships and bonds formed after the hero and other characters survive the Ordeal together.  Vogler also refers to this moment as "Seizing the Sword" as the reward is commonly "an active movement of the hero who aggressively takes possession of whatever was being sought in the Special World" (178).  The image of the sword can stand for concrete rewards such as treasure or emotional rewards such as winning someone's love.  Vogler also says that "Seizing the Sword can be a moment of clarity" (180), as the Hero might find themselves with new insight or sharpened intuitions.  The Reward serves as a moment of new awareness and perception that the Hero gains after risking their life.

   After the Hero is able to enjoy their Reward, they continue on their Hero's Journey as they encounter Stage Ten: The Road Back.  When a hero starts on their road back they most commonly return to their original starting point as this "represents the resolve of the hero to return to the Ordinary World and implement the lessons learned in the Special World" (189).  After a quick pause to enjoy the success of the Reward, a hero must continue on with their adventure as they make their way home.  This point is commonly the marking point for the transition from Act Two to Act Three as "The road back causes the third act" (189).  The hero can have another encounter with the villain or be involved in extension of the ordeal such as a chase scene or another battle.  After enjoying the Reward, The Road Back can difficult as "heroes may encounter setbacks that seem to doom the adventure" (192).  This stage is where the hero must show their willingness to complete their journey while using what they learned from their Reward. 

Reaction
   Although the Reward seems to fit perfectly in its place, after the Ordeal, The Road Back is an interesting aspect of the Hero's Journey.  Once the hero faces the Ordeal it seems as if they should encounter smooth sailing until the end of the journey.  However, The Road Back, as harmless as it sounds can hold even more adventure and tests for the hero to pass.  For the Reward the notion of "Seizing the Sword" seems very fitting and actually helps to visualize this stage of the journey.  The "magical flight motif" mentioned in The Road Back is a very interesting concept as the transformations that Vogler mentions seem as if they belong in previous parts of the journey as well.  

Questions
1.  How does the "Seizing the Sword" metaphor help explain possible Reward experiences?
2.  Which previous stages of the journey does the knowledge that the hero gains with the Reward come from?

3. What are film examples of the hero facing a setback during The Road Back?

In Class: Reflect/Action

Reflection:
I have completed my volunteering. Still working on my 4-Modes as I don't particularly like my book or song and are looking for better ones. Have not yet started my presentation. Found interviewee but haven't done interview yet.

Action:
Today: completing my volunteer log. Finishing 4-Modes.
Before leaving for home on Monday: Start presentation.
Before Tues Dec. 2nd: Do interview and complete presentation.

By completing all aspects of Project Three before Tuesday Dec. 2nd I will have a complete presentation ready for Dec. 5th.

Project 3- 4 Modes

MODE ONE: FILM

Dazed and Confused. Dir. Richard Linklater. DVD. 1993.

In the film Dazed and Confused one of the first scenes is a group of senior high school girls hazing incoming freshmen girls. The hazing involves the younger girls preforming degrading actions and having disgusting concoctions poured all over them.

The purpose of this scene in the film is to show the older girls exerting their seniority over the younger girls by inadvertently forcing them to preform hazing tasks to be "cool" and to be socially accepted.

The audience for this movie is high school and college students, both male and female.

The appeal to ethos exists in two manners in this scene. Many students could regard this scene in a positive manner where the young high school girls are proving themselves to be "cool". Some students might share this value system that younger students should prove that they are equal to the older girls. Other people might find that this scene shows poor morals and ethics and that they do not agree with this scene. In a sense, this scene is created for students to relate to and gain humor from, and it is not expected that the audience will find it unfunny and harmful.

The appeal to pathos is perhaps the strongest of the rhetoric appeals. The scene of the younger girls doing whatever it takes to gain respect from the senior girls draws on both empathy and humor. Many students can relate to wanting to fit in with the "cool" crowd.

MODE TWO: ARTWORK
Camplin, Todd. A Highschool Hazing. Blog: Arts, Artists, and Galleries. 22 July 2007. 6 Nov. 2008.

MODE THREE: SONG

Pink, "Hazard to Myself"

MODE FOUR: BOOK

The Bell Jar

Vogler Annotated Bibliography #11

Vogler, Christopher. “Epilogue: The Writer's Journey and Appendices: Stories Are Alive”. The Writers Journey. Studio City, CA: Michael Wiese Productions, 1998. 293-312.

Summery
"The Writer's Journey" explains the connection between the Hero's Journey and the journey a writer must go through to write a story. Vogler explains that "Writing is often a perilous journey inward to probe the depths of one's soul and bring back the Elixir of experience- a good story" (293). Each of the stages of the Hero's Journey is reflected in the Writer's Journey as they help or inhibit the writer to come up with their story. The stages, such as the Shadow as low self esteem, can be found both within story and within the lives of those who write them. Vogler also comments on the power of letters and words and goes as far as to say that "Writers, like shamans or medicine men and women of their cultures, have the potential to be healers" (294). A certain combination of letters and words can create stories for present generations to enjoy and stories that can serve as time capsules as they are read and interpreted for generations.

One of Vogler's final observations is that "Stories Are Alive". He lists many qualities of stories such as how they show and help the evolution of human thought, how they can help humans deal with emotions, and most importantly how "stories are somehow alive, conscious, and responsive to human emotions and wishes" (300). Stories are not just words strung into sentences that form a story, but they have underlying meanings and agendas. Most stories come off as entertainment sources, yet are meant to teach lessons and help connect the reader to the world through these lessons. Vogler suggests that "wishing may be an underlying principle of storytelling" (304). Many times stories are based on a wish that is acknowledged by a character in the first act that leads them into their Hero's Journey. In conjunction with making wishes, many stories are based on characters discovering, through their journey, not what they wish for, yet what they truly need.

Reaction

Vogler makes an interesting connection between the Hero's Journey and the Writer's Journey. Just as the Hero's Journey can be compared to real life, it can be compared to the Writer's Journey in the same manner. I like how this helps the writer visualize how both the writing process and the Hero's Journey can be utilized in creating a good story. When Vogler says that stories are alive it gives storytelling another meaningful aspect. Most of Vogler's book is about the specific parts of the journey and how to use them to write a good story, now he gives the journey a greater purpose than just entertainment. When stories have a meaning it gives the writing process a greater purpose than when Vogler discusses it for pure money and entertainment successes.

Questions
1. What are examples of the stages of the Hero's Journey that writers commonly encounter?

2. What are the similarities and differences between "wishing" and "willing"?

3. Why should the audiences "wishes" be considered when writing a story? How are their wishes usually reflected in the outcomes of stories?

Vogler Annotated Bibliography #10

 

**Get out of jail free card**

Vogler Annotated Bibliography #9

*Get out of Jail Free Card*

The Bell Jar - Paragraph

     In Silvia Plath's The Bell Jar, the main character Esther is trying to regain her Ordinary World.  During chapters 19 and 20, Esther is focussed on living away from the asylum and returning to her college.  When Esther looses her virginity, she feels that it is a step in the right direction for her to become a "normal" college student again.  Although her Ordinary World has been changed, her attempts to regain her old life reflect the step of Returning with the Elixir.  Esther has learned enough in the asylum that she can return to her previous life as a "normal person", yet has changed so that she will not resort to her old ways that originally landed her in the asylum.