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17 years ago
Thursday, October 30, 2008
Wednesday, October 22, 2008
Peer Review: Strengths and Weaknesses
S: the subject can spark many paragraphs.
W: Try to narrow down the points you are trying to make about trafficking.
S: Good intro and topic.
W: focus on 3 topics so you're not all over the place.
S: interesting topic and unique.
W: might be a little broad.
S: great topic with a good start.
W: lack of observations and support.
S: unexpected topic, interesting, keep with the topic.
W: remember to stay focused.
W: Try to narrow down the points you are trying to make about trafficking.
S: Good intro and topic.
W: focus on 3 topics so you're not all over the place.
S: interesting topic and unique.
W: might be a little broad.
S: great topic with a good start.
W: lack of observations and support.
S: unexpected topic, interesting, keep with the topic.
W: remember to stay focused.
Monday, October 20, 2008
Vogler # 7
Rhianna Lebedz
October 21, 2008
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. pg. 143-173.
Summary
In stage seven, after "Tests, Allies, and Enemies", the hero approaches the inmost cave where they will encounter wonder and terror (143). Here is where the hero makes final preparations for the adventure (143). This is the preparation stage right before the Ordeal (145). While making the approach you will encounter obstacles, illusions, and threshold guardians. When the hero is trapped and cannot turn back, is when the "approach to the Inmost Cave" is complete and they can move on to the "Ordeal" (152).
The "Ordeal", which is stage eight of Vogler's interpretation of a Hero's Journey, is where the hero will face their greatest challenge and hardest opponent (155). Heroes will always face a death and rebirth stage whether it is physically or mentally (155-156). This death and rebirth stage changes the hero (156). Vogler describes the Ordeal in Star Wars when Luke Skywalker appears to have drowned in a sewage, however out of no where he comes up the the surface and shows that he has cheated death (162). The most common Ordeal that the hero faces is confrontation with someone on the opposing side (163). In the Ordeal stage the hero comes face-to-face with death and usually will walk away to talk about it (172).
Reaction
Vogler continues to explain the next two stages of the Hero's Journey. The Approach to the Inmost Cave was really boring to read. I felt as if this stage dragged on with no real point to it. The Ordeal however was a little more interesting because you learned that in this stage the hero faces death and is like they "dance with the devil". I did like how Vogler explained that everyone is a hero in their own story, whether it was a villain, a lover, an Allie, a guardian, or even a sidekick.
Questions
1. Can a hero still turn back once they've "approached the inmost cave"?
2. Give an example of the inmost cave from a movie.
3. In your own journeys, what was your greatest fear?
October 21, 2008
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. pg. 143-173.
Summary
In stage seven, after "Tests, Allies, and Enemies", the hero approaches the inmost cave where they will encounter wonder and terror (143). Here is where the hero makes final preparations for the adventure (143). This is the preparation stage right before the Ordeal (145). While making the approach you will encounter obstacles, illusions, and threshold guardians. When the hero is trapped and cannot turn back, is when the "approach to the Inmost Cave" is complete and they can move on to the "Ordeal" (152).
The "Ordeal", which is stage eight of Vogler's interpretation of a Hero's Journey, is where the hero will face their greatest challenge and hardest opponent (155). Heroes will always face a death and rebirth stage whether it is physically or mentally (155-156). This death and rebirth stage changes the hero (156). Vogler describes the Ordeal in Star Wars when Luke Skywalker appears to have drowned in a sewage, however out of no where he comes up the the surface and shows that he has cheated death (162). The most common Ordeal that the hero faces is confrontation with someone on the opposing side (163). In the Ordeal stage the hero comes face-to-face with death and usually will walk away to talk about it (172).
Reaction
Vogler continues to explain the next two stages of the Hero's Journey. The Approach to the Inmost Cave was really boring to read. I felt as if this stage dragged on with no real point to it. The Ordeal however was a little more interesting because you learned that in this stage the hero faces death and is like they "dance with the devil". I did like how Vogler explained that everyone is a hero in their own story, whether it was a villain, a lover, an Allie, a guardian, or even a sidekick.
Questions
1. Can a hero still turn back once they've "approached the inmost cave"?
2. Give an example of the inmost cave from a movie.
3. In your own journeys, what was your greatest fear?
Monday, October 13, 2008
Rhianna Lebedz
October 14,2008
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. pg. 127-141.
Summary
Stage five of The Writer's Journey is "Crossing the First Threshold". This is where the hero will commit to the adventure (127). The hero may experience an external or internal event which will lead him or her to commit to the journey (128). At this time they are approaching the threshold and have a run-in with the threshold guardian (128-129). The hero must find a way around the threshold guardian in order to continue on with the journey (129). The hero then crosses into the unknown world which takes courage for him to do (128-129). After the hero takes this "leap of faith", there is no turning back and the hero must only hope to continue on safely (129).
Vogler's sixth stage is the run-in of the "Tests, Allies, and Enemies". The hero is tested to see if they are ready for much larger ordeals which will follow (136). Along the way the hero may make new friends who are referred to as allies (137). These allies can also be sidekicks who ride along with the hero and support their adventure (137). The hero also comes across an enemy who may perform as the Shadow, Trickster, Threshold Guardian, or even the Herald (138). It's common that the hero will have a rival who most of the time will want to defeat them in competition (138).
Reaction
Vogler described two very important stages in this section. Both of these give excitement to the story and get the plot rolling with adventure. I don't feel that the sidekick plays a major role in the journey. He is just someone there to get in your way. At times he may help fight off enemies, but serves no real other purpose. The only time Robin served a purpose to Batman was when enemies were around. I do however like the idea of having a rival. I believe this rival helps push the hero to better themselves and push them to be stronger.
Questions
1. Which has more impact on the hero, an internal event or an external event?
2. Will the hero always have both an ally and an enemy?
3. Does the ally ever become the enemy?
October 14,2008
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. pg. 127-141.
Summary
Stage five of The Writer's Journey is "Crossing the First Threshold". This is where the hero will commit to the adventure (127). The hero may experience an external or internal event which will lead him or her to commit to the journey (128). At this time they are approaching the threshold and have a run-in with the threshold guardian (128-129). The hero must find a way around the threshold guardian in order to continue on with the journey (129). The hero then crosses into the unknown world which takes courage for him to do (128-129). After the hero takes this "leap of faith", there is no turning back and the hero must only hope to continue on safely (129).
Vogler's sixth stage is the run-in of the "Tests, Allies, and Enemies". The hero is tested to see if they are ready for much larger ordeals which will follow (136). Along the way the hero may make new friends who are referred to as allies (137). These allies can also be sidekicks who ride along with the hero and support their adventure (137). The hero also comes across an enemy who may perform as the Shadow, Trickster, Threshold Guardian, or even the Herald (138). It's common that the hero will have a rival who most of the time will want to defeat them in competition (138).
Reaction
Vogler described two very important stages in this section. Both of these give excitement to the story and get the plot rolling with adventure. I don't feel that the sidekick plays a major role in the journey. He is just someone there to get in your way. At times he may help fight off enemies, but serves no real other purpose. The only time Robin served a purpose to Batman was when enemies were around. I do however like the idea of having a rival. I believe this rival helps push the hero to better themselves and push them to be stronger.
Questions
1. Which has more impact on the hero, an internal event or an external event?
2. Will the hero always have both an ally and an enemy?
3. Does the ally ever become the enemy?
Monday, October 6, 2008
Vogler annotation
Rhianna Lebedz
October 6, 2008
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. pg. 107-125.
Summary
In the next two stages, Vogler explains 'Refusal of the Call' and 'Meeting with the Mentor'. 'Refusal of the Call' lets the audience know that the upcoming adventure can be risky (107). There's a few ways that a hero can refuse the adventure, which is avoidance, making excuses, or being challenged by the Threshold Guardian (108-111). Sometimes refusing the call can be positive if it helps save your life (109). The fear of proceeding with the adventure or challenge that lies ahead, is usually overcome with the help of the Mentor (113).
Vogler then went on to explain the stage of 'Meeting with the Mentor'. The mentor is there to protect, guide, teach, test, train, and provide for the Hero (117). Sometimes the hero and the mentor run into conflicts with one another and is usually because the hero is ungrateful or violence-prone (121). However, the mentor can turn into the villain and not all mentors can be trusted (121-122).
Reaction
My favorite stage so far is the 'Refusal of the Call' stage because this one adds a lot of drama to the adventure. This stage makes the audience question if the hero will continue on or refuse the adventure. I really like how Vogler is using The Wizard of Oz as an example for each stage because it's such a well known movie and almost everyone can follow along with the stages as he describes them.
Questions
1. If the Mentor is always wise, then do you think Wilson in Castaway can serve as the mentor, or is it someone else?
2. Do you enjoy stories more when there is a refusal of the call or when the hero gets right into the adventure without and hesitation?
3. Will the hero sometimes not refuse the call because they think the adventure is not dangerous or has no risk, or is it because they have no fear of what lies ahead?
October 6, 2008
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. pg. 107-125.
Summary
In the next two stages, Vogler explains 'Refusal of the Call' and 'Meeting with the Mentor'. 'Refusal of the Call' lets the audience know that the upcoming adventure can be risky (107). There's a few ways that a hero can refuse the adventure, which is avoidance, making excuses, or being challenged by the Threshold Guardian (108-111). Sometimes refusing the call can be positive if it helps save your life (109). The fear of proceeding with the adventure or challenge that lies ahead, is usually overcome with the help of the Mentor (113).
Vogler then went on to explain the stage of 'Meeting with the Mentor'. The mentor is there to protect, guide, teach, test, train, and provide for the Hero (117). Sometimes the hero and the mentor run into conflicts with one another and is usually because the hero is ungrateful or violence-prone (121). However, the mentor can turn into the villain and not all mentors can be trusted (121-122).
Reaction
My favorite stage so far is the 'Refusal of the Call' stage because this one adds a lot of drama to the adventure. This stage makes the audience question if the hero will continue on or refuse the adventure. I really like how Vogler is using The Wizard of Oz as an example for each stage because it's such a well known movie and almost everyone can follow along with the stages as he describes them.
Questions
1. If the Mentor is always wise, then do you think Wilson in Castaway can serve as the mentor, or is it someone else?
2. Do you enjoy stories more when there is a refusal of the call or when the hero gets right into the adventure without and hesitation?
3. Will the hero sometimes not refuse the call because they think the adventure is not dangerous or has no risk, or is it because they have no fear of what lies ahead?
Sunday, October 5, 2008
Kafka Quiz
1. Connect the Ordinary World and the Call to Adventure to your reading of Book 1 of _The Metamorphosis_ Explain the connection.
In Book 1 of The Metamorphosis, Gregor wakes up and is not his self. He realizes he has turned into a monstrous vermin. Throughout the story he talks about how it was before he ended up this way and how he wishes he could just go back to the way it used to be. This stage of his life is the 'Ordinary World' where everything is how he knows it and it's what he knows up until the point he is turned into a big. It is his 'Call to Adventure' hen Gregor has to struggle to get out of bed, use his new legs to walk, and open the door. He had to learn to walk on his new legs and find a way to get off the bed and to the door to open it.
2. Are there any social issues being critiqued in the story? How does "The Red Scare" relate to Kafka's work?
The social issues being critiqued in the story are economics, labor, and poverty. Gregor was living with his parents to go to work every day and help support his family. He has never missed a day of work his parents were suspicious when he was late.
When ww2 was over people were left without jobs and caused economic difficulties during the red scare. Americans were afraid that the communists were going to take over America. This relates to the metamorphosis because Gregor and his parents, as well as his boss, believe that this new life as a bug will take over his life and he will not be able to work again and help provide for his family.
3. What does Gregor turn into in the story?
Gregor turns into an insect.
In Book 1 of The Metamorphosis, Gregor wakes up and is not his self. He realizes he has turned into a monstrous vermin. Throughout the story he talks about how it was before he ended up this way and how he wishes he could just go back to the way it used to be. This stage of his life is the 'Ordinary World' where everything is how he knows it and it's what he knows up until the point he is turned into a big. It is his 'Call to Adventure' hen Gregor has to struggle to get out of bed, use his new legs to walk, and open the door. He had to learn to walk on his new legs and find a way to get off the bed and to the door to open it.
2. Are there any social issues being critiqued in the story? How does "The Red Scare" relate to Kafka's work?
The social issues being critiqued in the story are economics, labor, and poverty. Gregor was living with his parents to go to work every day and help support his family. He has never missed a day of work his parents were suspicious when he was late.
When ww2 was over people were left without jobs and caused economic difficulties during the red scare. Americans were afraid that the communists were going to take over America. This relates to the metamorphosis because Gregor and his parents, as well as his boss, believe that this new life as a bug will take over his life and he will not be able to work again and help provide for his family.
3. What does Gregor turn into in the story?
Gregor turns into an insect.
Wednesday, October 1, 2008
Project revision and editing
Revision
1. Make sure the reader knows who is talking in my story and what they are talking about.
2. Connect my paragraphs from one to the other so they make sense.
3. Re-read my Journey a few times.
Editing
1. Work on my fanboys
2. Change my 'things', its', 'this', etc.
3. Edit my sentences to have a better flow when read.
1. Make sure the reader knows who is talking in my story and what they are talking about.
2. Connect my paragraphs from one to the other so they make sense.
3. Re-read my Journey a few times.
Editing
1. Work on my fanboys
2. Change my 'things', its', 'this', etc.
3. Edit my sentences to have a better flow when read.
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