Crossing the Threshold and Tests, Allies, Enemies
Summary
Crossing the threshold is the ultimate crossing into the special world. The threshold symbolizes the point of no return, kind of like the moment when you are on a rollercoaster and it begins to move. Typically, the hero requires some sort of shove to cross the threshold, for example a person that is very close to him may be murdered, captured or hurt in some way. Just before crossing the threshold there is often a threshold guardian the hero must deal with. Once the hero has crossed the threshold, we are finally immersed and introduced to the special world. In the beginning, the parameters of the special world need to be established quickly and this is the use of the “Tests, Allies, Enemies” section of a story. The tests work to establish the rules of the world and hone the hero’s skills towards being in the special world. Also, in the beginning, the hero will meet some allies that will aid him/her in the special world and will surely encounter their enemies as well.
Reaction
Because every story does indeed need the “special world”, “crossing the threshold” I would argue is a necessity in every story. In the “Tests, Allies, Enemies” section Vogler brings up the bar or saloon. This is another recurring theme throughout his books, is that a bar seems to be a very useful dramatic element and his arguments for this make sense. They can be representative of the “watering hole” where creatures naturally congregate; therefore they are an excellent location to learn the parameters and circumstances of the special world.
Reflection
I can think of no story where “Crossing the Threshold” does not exist. Even in my own “making sense” piece used an exact type of threshold that Vogler describes in the book, “Do I go on living my life as I always have, or will I risk everything in the effort to grow and change?”. Although my wording in my story was not this exactly, the situation was exactly the same. Even in “The Metamorphisis,” this is evident. The crossing happens in the beginning of the story, when Gregor realizes that he is no longer the same form as he once was and chooses to accept it and make do with his new situation.
Monday, March 9, 2009
Monday, March 2, 2009
Annotation 5
Summary
After the Normal World and the Call to Adventure we come to two more related points in the hero’s journey, those being The Refusal of the Call and the Meeting with the Mentor. The Refusal is meant to set a point in the journey that sets up the dangers involved with continuing on the journey. There are several types of refusals, for example the hero can give weak excuses, avoid, be willing, refuses persistently or there can be conflicting calls to adventure. Immediately after the refusal, sometimes during it, is the point in the journey when the hero will meet with the mentor. Probably the most important occurrence here is that the mentor usually gives the hero some sort of gift that will help the hero on their journey.
Reaction
There was one category that Vogler mentioned which is the persistent refusal of the call and how this always has to end in tragedy. This makes sense and it seems that it could be the entire story in itself. For example, the result if you are always too cowardly to take a risk. Another interesting aspect from this section was the fact the mentor has to always give something useful. Perhaps in dramatic stories this has to always be true, however, I do not think it has to be in every good story. Although, Vogler had made it clear quite a few times that every aspect of the Hero’s Journey does not have to be present.
Reflection
These two parts of the journey are very easy to spot in famous stories. For example in Star Wars, when Obi Wan initially tries to convince Luke he is met with refusal, even after giving him the gift. Only after the murder of his caretakers did he embark on the journey. In the stories that we have read for class these are not so apparent. In “The Metamorphosis” I would say the hero was willing and therefore did not experience the typical Refusal. He awoke in his strange state and decided that he was going to make do with it and continue about his normal day with this strange state that he was now in.
After the Normal World and the Call to Adventure we come to two more related points in the hero’s journey, those being The Refusal of the Call and the Meeting with the Mentor. The Refusal is meant to set a point in the journey that sets up the dangers involved with continuing on the journey. There are several types of refusals, for example the hero can give weak excuses, avoid, be willing, refuses persistently or there can be conflicting calls to adventure. Immediately after the refusal, sometimes during it, is the point in the journey when the hero will meet with the mentor. Probably the most important occurrence here is that the mentor usually gives the hero some sort of gift that will help the hero on their journey.
Reaction
There was one category that Vogler mentioned which is the persistent refusal of the call and how this always has to end in tragedy. This makes sense and it seems that it could be the entire story in itself. For example, the result if you are always too cowardly to take a risk. Another interesting aspect from this section was the fact the mentor has to always give something useful. Perhaps in dramatic stories this has to always be true, however, I do not think it has to be in every good story. Although, Vogler had made it clear quite a few times that every aspect of the Hero’s Journey does not have to be present.
Reflection
These two parts of the journey are very easy to spot in famous stories. For example in Star Wars, when Obi Wan initially tries to convince Luke he is met with refusal, even after giving him the gift. Only after the murder of his caretakers did he embark on the journey. In the stories that we have read for class these are not so apparent. In “The Metamorphosis” I would say the hero was willing and therefore did not experience the typical Refusal. He awoke in his strange state and decided that he was going to make do with it and continue about his normal day with this strange state that he was now in.
Sunday, February 22, 2009
Peer Review
My peer reviewer made sentence level comments that mainly focused on parts that seemed vague. They were helpful and actually very similar to some of the comments that Prof. Kat made.
-Nick
-Nick
Annotation #4
Summary
Every good story is basically centralized on some hero’s journey. This journey needs to have a point and needs to be well defined, which is what the beginning of the story attempts to do. There are various ways to begin a story and no way is perfect for every story. For example, some stories may begin with a prologue that depicts the event that will ultimately propel the hero onto their adventure. Some stories may instead begin in a more linear fashion, beginning in the ordinary world. This is an extremely important part of a story. It is where the stage is set. The ordinary world is established and the heroes role within it. This is also the point where the hero is introduced and we get to find out what their weaknesses, strengths and other attributes are. This is also the point in the story where we see the call for adventure that kicks off the rest of the journey. It is important that the normal world contrasts with the special world, it makes it far more interesting and works to enhance the dramatic effect of the story.
Response.
This is a recurring theme to all my responses, but I cannot help but believe it must be one of the most important aspects of Vogler’s book. That is he makes many references to the audience being able to relate, identify or even emphasize with everything going on. A large role of the normal world (or beginning of the story) is to establish the human reasons are hero is the way that they are and why they must undertake this journey. Everything is targeted to being relatable on a human level.
Reflection
It is kind of interesting how I can take what Vogler is discussing here and apply it even to my own life. For the paper that we had to write, this is obviously something that I had to do. In my case for example, I think often of my ordinary world, which is Vermont. Back there, everything is seemingly normal for me and I know that things would be simpler. Instead however, I am here in a special world. In school, away from my friends and family and certainly facing down a challenge. So it is becoming more and more clear how broadly Vogler’s discussion can be applied.
Questions
1.) How far can a story deviate from the linear journey model that Vogler is setting up?
2.) How can this be applied to non-fiction writing, where perhaps many of these elements being describe simply are not there?
Every good story is basically centralized on some hero’s journey. This journey needs to have a point and needs to be well defined, which is what the beginning of the story attempts to do. There are various ways to begin a story and no way is perfect for every story. For example, some stories may begin with a prologue that depicts the event that will ultimately propel the hero onto their adventure. Some stories may instead begin in a more linear fashion, beginning in the ordinary world. This is an extremely important part of a story. It is where the stage is set. The ordinary world is established and the heroes role within it. This is also the point where the hero is introduced and we get to find out what their weaknesses, strengths and other attributes are. This is also the point in the story where we see the call for adventure that kicks off the rest of the journey. It is important that the normal world contrasts with the special world, it makes it far more interesting and works to enhance the dramatic effect of the story.
Response.
This is a recurring theme to all my responses, but I cannot help but believe it must be one of the most important aspects of Vogler’s book. That is he makes many references to the audience being able to relate, identify or even emphasize with everything going on. A large role of the normal world (or beginning of the story) is to establish the human reasons are hero is the way that they are and why they must undertake this journey. Everything is targeted to being relatable on a human level.
Reflection
It is kind of interesting how I can take what Vogler is discussing here and apply it even to my own life. For the paper that we had to write, this is obviously something that I had to do. In my case for example, I think often of my ordinary world, which is Vermont. Back there, everything is seemingly normal for me and I know that things would be simpler. Instead however, I am here in a special world. In school, away from my friends and family and certainly facing down a challenge. So it is becoming more and more clear how broadly Vogler’s discussion can be applied.
Questions
1.) How far can a story deviate from the linear journey model that Vogler is setting up?
2.) How can this be applied to non-fiction writing, where perhaps many of these elements being describe simply are not there?
Sunday, February 15, 2009
Annotation 3
Summary.
While the Hero and the Mentor are arguably the most important or central archetypes, a good story cannot contain just those two. Most good stories will contain a variety of archetypes and they typically fall into these categories, Threshold Guardian, Herald, Shapeshifter, Shadow, Ally and Trickster. All of these archetypes hold certain roles for the dramatic element of the story, but are also meant to represent some human psychological element as well. For example, the shadow who dramatically is typically the villain or enemy of a story may be meant to psychologically represent a repressed pain or weakness of the hero. Lastly, as is true with the Hero and Mentor, these archetypes are often simply masks, that the same character may where during their journey.
Reaction
There is not too much of a new reaction to this when compared to the overview of archetypes. They do make sense, especially these ones that Vogler points out. A consistent point that he falls back on, that I feel is very important is comparing the archetypes and various parts of a story with our human element and ourselves. I am going to guess at this point, simply because of the repetitiveness of this point that it may be one of the more important aspects of story writing. The story and its characters must be “human” in nature.
Reflection.
As we read the book, he points our very good examples that clearly follow the points he is making, however, when we look at class readings this is not so. For example, in Indian Camp, these various archetypes are not so easy to spot. Certainly some of them are there, such as Hero and Mentor, however The Shadow and Shapeshifter on the other hand do not seem to be present. They probably are, but obviously only visible to the trained eye.
Questions
1.) Can a story have multiple examples of all archetypes?
2.) I really wished the Volgler would connect these archetypes with non-fiction or more analytical pieces.
While the Hero and the Mentor are arguably the most important or central archetypes, a good story cannot contain just those two. Most good stories will contain a variety of archetypes and they typically fall into these categories, Threshold Guardian, Herald, Shapeshifter, Shadow, Ally and Trickster. All of these archetypes hold certain roles for the dramatic element of the story, but are also meant to represent some human psychological element as well. For example, the shadow who dramatically is typically the villain or enemy of a story may be meant to psychologically represent a repressed pain or weakness of the hero. Lastly, as is true with the Hero and Mentor, these archetypes are often simply masks, that the same character may where during their journey.
Reaction
There is not too much of a new reaction to this when compared to the overview of archetypes. They do make sense, especially these ones that Vogler points out. A consistent point that he falls back on, that I feel is very important is comparing the archetypes and various parts of a story with our human element and ourselves. I am going to guess at this point, simply because of the repetitiveness of this point that it may be one of the more important aspects of story writing. The story and its characters must be “human” in nature.
Reflection.
As we read the book, he points our very good examples that clearly follow the points he is making, however, when we look at class readings this is not so. For example, in Indian Camp, these various archetypes are not so easy to spot. Certainly some of them are there, such as Hero and Mentor, however The Shadow and Shapeshifter on the other hand do not seem to be present. They probably are, but obviously only visible to the trained eye.
Questions
1.) Can a story have multiple examples of all archetypes?
2.) I really wished the Volgler would connect these archetypes with non-fiction or more analytical pieces.
Sunday, February 8, 2009
Heroes and Mentors
Summary.
In every story there exists various archetypes. Although, there are about many archetypes as there are human roles, some are far more important than others. The most notorious of these archetypes is the hero himself. The hero is of the utmost importance to the story; in fact may be a microcosm of the whole story. He is the one that has to be shown as normal or human, and then go through an ordeal, face death in the face, be redeemed and then finally return home a more “complete” person. Paralleling the hero is the mentor. This archetype is broad and simply represents someone or something that influences, empowers and ultimately pushes the hero to undertake his or her journey. Like the hero, the mentor can be tragic, dark, unwilling or willing and is often an “ex” or fallen hero.
Reaction
Vogler makes some very important points here. I believe the most useful ones were made in the introduction of “the hero”. Notably, the fact the hero must be flawed in someway, or must be clearly shown to be a human. It is very true that is may be difficult to follow a hero’s story if he is omnipotent. But if you are able to see the humanness of the hero, you may be able to emphasize with them and be truly able to put yourself into his or her shoes.
Reflection
What Vogler describes here can be easily observed. For example, in “A Good Man is Hard to Find,” I would argue that the “hero” may be the grandma. When the story opens we see that she is very human, she wishes to go back to her home and to relive all of these various memories. Perhaps her son is meant to be the “mentor”. He clearly is thinking that it is best to stay home and when the back road appears he was the one that warned it was best not to go down their.
Questions
1.) I noticed that there is no “villain” archetype. I must wonder if the villain is meant to be the hero’s parallel, or perhaps the “anti-mentor”?
2.) Is their any story that can get away without a hero or a mentor?
3.) Is it safe to assume that a hero does not always have to be a person, but can be a group or organization or some other aggregate?
In every story there exists various archetypes. Although, there are about many archetypes as there are human roles, some are far more important than others. The most notorious of these archetypes is the hero himself. The hero is of the utmost importance to the story; in fact may be a microcosm of the whole story. He is the one that has to be shown as normal or human, and then go through an ordeal, face death in the face, be redeemed and then finally return home a more “complete” person. Paralleling the hero is the mentor. This archetype is broad and simply represents someone or something that influences, empowers and ultimately pushes the hero to undertake his or her journey. Like the hero, the mentor can be tragic, dark, unwilling or willing and is often an “ex” or fallen hero.
Reaction
Vogler makes some very important points here. I believe the most useful ones were made in the introduction of “the hero”. Notably, the fact the hero must be flawed in someway, or must be clearly shown to be a human. It is very true that is may be difficult to follow a hero’s story if he is omnipotent. But if you are able to see the humanness of the hero, you may be able to emphasize with them and be truly able to put yourself into his or her shoes.
Reflection
What Vogler describes here can be easily observed. For example, in “A Good Man is Hard to Find,” I would argue that the “hero” may be the grandma. When the story opens we see that she is very human, she wishes to go back to her home and to relive all of these various memories. Perhaps her son is meant to be the “mentor”. He clearly is thinking that it is best to stay home and when the back road appears he was the one that warned it was best not to go down their.
Questions
1.) I noticed that there is no “villain” archetype. I must wonder if the villain is meant to be the hero’s parallel, or perhaps the “anti-mentor”?
2.) Is their any story that can get away without a hero or a mentor?
3.) Is it safe to assume that a hero does not always have to be a person, but can be a group or organization or some other aggregate?
Monday, February 2, 2009
Childhood Hero
Sorry, I completely forgot about this assignment before we discussed it today. Anyway, my childhood hero is Charlie Bucket from Charlie and the Chocolate Factory. I was always timid when I was younger. Also, and not to toot my horn, I was polite and listened to rules. I liked Charlie because I did see a lot of me in him. I always kind of noticed other people's behaviors and knew that is not how I wanted to be.
Another aspect of his story that I really enjoy is that because of his polite and respectful behavior, he wins the ultimate prize. The one person in that group that really deserved it!
Next "hero" of mine, would probably be considered an anti-hero. Calvin from Calvin and Hobbes. I never fully understood why I enjoyed him so much, but I beleive it was mainly due to the fact that he was in many ways my opposite. Like I talked about above, I was always very timid and respectful as a child. Nobody ever had to worry about me breaking rules or running amok. For Calvin on the other hand this is not true. He is almost maniacal. Very hyper, rarely listens to rules and gets into tons of trouble. I suppose there must have been a part of me deep down that wanted to be a rascal.
The last hero is kind of laughable, but if you grew up in my family you would understand. He would be none other than Bernie Sanders, one of Vermont's senators (but back then a congressman). My dad is a political fanatic which probably explains my fascination with it. Anyway, Bernie is very synonomous with Vermont. For those of you that are familiar with it, Vermont is a very unique place with a very unique political attitude. Fiercly set in our ways and not afraid to get loud about it. Bernie Sanders is very attuned to Vermonters needs and has been a staunch defender of it. On top of that, he is very loud on Capital Hill. My dad used to talk about him often and we even went to forums where he was speaking. I suppose you could say he is a hero my dad passed down to me.
Another aspect of his story that I really enjoy is that because of his polite and respectful behavior, he wins the ultimate prize. The one person in that group that really deserved it!
Next "hero" of mine, would probably be considered an anti-hero. Calvin from Calvin and Hobbes. I never fully understood why I enjoyed him so much, but I beleive it was mainly due to the fact that he was in many ways my opposite. Like I talked about above, I was always very timid and respectful as a child. Nobody ever had to worry about me breaking rules or running amok. For Calvin on the other hand this is not true. He is almost maniacal. Very hyper, rarely listens to rules and gets into tons of trouble. I suppose there must have been a part of me deep down that wanted to be a rascal.
The last hero is kind of laughable, but if you grew up in my family you would understand. He would be none other than Bernie Sanders, one of Vermont's senators (but back then a congressman). My dad is a political fanatic which probably explains my fascination with it. Anyway, Bernie is very synonomous with Vermont. For those of you that are familiar with it, Vermont is a very unique place with a very unique political attitude. Fiercly set in our ways and not afraid to get loud about it. Bernie Sanders is very attuned to Vermonters needs and has been a staunch defender of it. On top of that, he is very loud on Capital Hill. My dad used to talk about him often and we even went to forums where he was speaking. I suppose you could say he is a hero my dad passed down to me.
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