4 Modes: Rhetorical Appeals

Project 3 Analysis

Image: http://www.healthhype.com/wp-content/plugins/healthy-breakfast.jpg

Image:

The image to the left is an example of a healthy breakfast and its also a play food kit. The breakfast kit is aimed for children probably between the ages of 2-8. The purpose of the play food set is to show healthy breakfast choices and to make children aware, in addition to education through a hands on experience. The fruit, yogurt, English muffin, pancake, and orange juice are foods and drink children might typically eat and enjoy for breakfast, most importantly they are health conscious options. The breakfast kit does not include donuts or sugary cereals so children aren't exposed to foods that taste good with no nutritional value. By actually playing with the foods this tool can be used to teach children what a good breakfast consists of, an effective education on breakfast in disguise.

Book: Green Eggs and Ham

Green Eggs and Ham by Doctor Seuss is a classic children's book which can actually be used to educate children about breakfast. The colorful illustrations of eggs and ham along with the text throughout the story make for a fun and easy teaching tool. The purpose of the book is to encourage people to try new things because they might actually like them. Over and over Sam I Am asks the Cat in the Hat to try his green eggs and ham but the cat refuses, an element of the story children and parents alike can relate to. A parallel can be drawn between a stubborn kid and a parent with the Cat in the Hat and Sam I Am. Green Eggs and Ham functions in showing children if they try a new food/meal there is a chance they might really like it. Therefore, Green Eggs and Ham could potentially be used to persuade a child to try eggs for breakfast or another choice a child won't eat. The Cat in the Hat is a likable character for children and they can compare themselves to what the cat experiences.

Song: "The Breakfast Song"

"The Breakfast Song" by Sicko is a short piece taking an interesting perspective on breakfast. The song can be enjoyed by audiences of all ages but the target seems to specifically be teenagers. The musicians behind "The Breakfast Song" create a comedic spin on breakfast discussing eggs and Captain Crunch cereal. Sicko promotes eating eggs because they contain a lot of protein and get you up and going in the morning. The lyrics are catchy and the song is appealing because breakfast is not usually talked about in songs. The catch phrase in the song is "a hearty breakfast can't be beat", which is an effective message for audiences. The song could be used to teach because of the comical lyrics and how they convey eating breakfast is fun and good for you at the same time. A positive message is also revealed through "The Breakfast Song" and shows kids breakfast is an enjoyable meal.

Film: Peewee Herman's Big Adventure

The film Peewee Herman's Big Adventure, specifically the scene with the egg contraption, visually displays one man's breakfast habits and his everyday routine. Peewee Herman's Adventure can be enjoyed by audiences of all ages but children would enjoy the movie the most. By using Peewee Herman kids will think he is funny and potentially view him as a role model, which is how the movie could be used as a teaching tool. In the movie Peewee uses his egg contraption every day to crack his eggs and the film elaborately shows Peewee performing his daily routine. Peewee realizes the importance of breakfast and kids can interpret this as Peewee having good judgment; therefore he is setting the example children should be eating breakfast too. The egg contraption makes eating breakfast look cool, an effective way to convince children of breakfast's value. By watching Peewee Herman's Big Adventure kids will see how breakfast should be eaten to start the day and how it can be amusing as well.

Annotation for Toni Morrison Interview

Summary:
This week's annotation is in response to an interview conducted by Charlie Rose on the famous Toni Morrison, writer, professor, and editor. Morrison typically writes on issues that have faced or continually face black community, and is the acclaimed writer of many books, winning the Pullitzer and Nobel prize. At the time of the interview her new book being released was Love, a novel about blacks becoming american and the hardships among the black community; with the main character ostracized for caring for something wounded. Morrison's most famous work Beloved tells a story about slavery, and at this point in her life Morrison knew she was a writer and nothing was more important than writing and being a good parent to her children. Morrison discussed how being an editor has helped her as a writer but each book is like a new canvas and a new start. Most importantly, Morrison wants her readers to get the meaning of her books and lives by the notion that she hasn't done her best work yet.

Reaction:
Having never seen Morrison in an interview like scenerio I was really surprised at how modest and calm she remained throughout the interview. In response to one of Rose's questions she even said my life is boring I don't do anything, but my mind is exciting. She clearly is very humble about her acheivements, which I think contributes to what makes Toni Morrison so inspring. I can relate with her on the turning point of when she decided who she was. I always knew I was interested in medicine but was looking for a direction, and as soon as I did some job shadowing I realized I wanted to be a physician's assistant, and have been persuing my goal ever since-- similar to Morrison's encounter with writing Beloved. I also thought her view of all her characters being winners even if they ended up dying was an interesting idea. Morrison seems to be able to see the positive side of things even through trajedy. I agree with the idea of a character's experience being an "epiphany", no matter what the outcome.

Reflection:
Even though Morrison does write about the black community I think she has a widespread appeal to her audience. I think Morrison aims to make connections with her readers which has helped in her success as a writer. She repeatedly touched on the notion that we need to "become and remain human" and to not give in to the comic book lifestyle. In Morrison's writing she has chosen topics revealing good and bad sides of humanity but most significantly the reality of it all; and I believe she tries to intertwine her philosophies about life with her writings. In my opinion she definitely has the right ideas and I think the way she talks and writes can be inspiring to other people. She encourages people to embrace who they are and not to try and fit into the confines of society.

Questions:
1. Given Morrison is a professor at Princeton and has the ability to impact a large number of people, what course would you have her teach and what would it entail?

2. Can Toni Morrison's writing style fit into the stages of Vogler's heroe's journey? Why/why not?

3. Morrison discussed black sepratism being important to the civil rights movement in addition to black nationalism, how do the two function together as one?

Simpson's Critique

Summary:
The Simpson's TV show was created on values and ideas that were a risk for the FOX TV network to produce. The show reinforces the average middle class American family values through the narrative. However, it also criticizes American cultural values outside of the narrative such as politics, sexuality, and the medical and educational systems. The characters of Homer, Marge, Lisa, Bart, and others are representations of ideas and ideologies rather than personalities because they were created as incomplete. For example, Lisa is the symbol of reason on the show and she is constantly questioning the rationality and motives behind others actions. Homer is the dominant male figure in the show representing the the cultural myths and contradictions of the American consumerist lifestyle. Marge, conveys the stereotypical housewife and all of the problems and downfalls that come along with it. Bart is predetermined to fail and is used to scrutinize the public schooling system. And lastly, Mr. Burns is the symbol of capitalism and is portrayed as a very powerful person due to his ownership of the power plant.

Reaction:
I thought that this critique was very interesting and provided some insight into the creation of the show. I have only caught a couple of the episodes of the Simpson's here and there, and never have been a vigilant watcher. When I have watched the show I found it not very engaging and kind of dumb (I guess I never really gave it a fair chance). So, from my perspective I actually learned a lot about the characters and their motives through this critique; I think now I better understand the point of the show. I definitely agree with the statement, "The Simpson family and friends act as a cross section of American culture. They are never fully developed characters, but icons of belief" (Tingleff). The Simpson's critique makes it easy to see what the characters represent and how their ideologies are conveyed in the show. Using the narrative of the show to reinforce and reflect the middle class American values is what makes the Simpson's so ratable and successful.

Reflection:
Nowadays creating a long lasting good television show is not something that happens everyday. The fact the Simpson's lasted for 9 years is pretty incredible for a TV show. Reality and shows that can't even last a couple seasons are what dominate our televisions today. I think that the success of the HBO series the Soprano's can be compared to the Simpson's. Plot wise they are very different but each show had a unique character drawing in large audiences for an extended period of time. Even through all the violence and mob drama the Soprano's also had a focus on family life and the importance of family comparable to the Simpson's. Both shows were the first of "their kind" and became models for later shows trying to have a similar message.

Questions:

1. What Simpson's character do you see yourself the most in and why?

2. Despite the characters incomplete nature, how does the narrative attempt to overcome this according to Tingleff?

3. If you could add a character to the show to represent a contemporary idea/ideology, what would it be and why?

Project 3: 4 Mode Teaching Tool

1. Book: Green Eggs & Ham by Doctor Suess

2. Film: PeeWee Hermans Big Adventure--> Peewee's morning routine with the egg contraption

3. Song: "The Breakfast Song" http://www.metrolyrics.com/the-breakfast-song-live-lyrics-sicko.html

4. Visual piece: http://images.google.com/imgres?imgurl=https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk0fFLKnOzovLv7aHhdIkvQnc_vDxbztgavjgdYs_dT19dbZmPFHSxclilu9odKYv8Ve0wi0ezac68qhB9fGzHDmn5SHRTpFSJMydPXj4qz7GKhnYSKYHBKbKVhFRlBWQTXjb0sYExq8w/s400/blog_corasberakfast.jpg&imgrefurl=http://mikelynchcartoons.blogspot.com/2008/04/corasbreakfast.html&usg=__7opaSCijaI_VXibegh_2FXibwhw=&h=303&w=374&sz=33&hl=en&start=24&um=1&tbnid=uYES73Ipbqm27M:&tbnh=99&tbnw=122&prev=/images%3Fq%3Dbreakfast%2B%252B%2Bcomic%26ndsp%3D21%26hl%3Den%26rls%3Dcom.microsoft:en-us:IE-SearchBox%26rlz%3D1I7HPIB_en%26sa%3DN%26start%3D21%26um%3D1

Themes from the BellJar:

1. Hope comes in many forms, but it can quickly disappear
Titanic: Many people thought they were going to live but there wasn't enough rescue boats to save them, resulting in hundreds of deaths. The people had a false sense of hope.


2. Things are not always what they seem from an outsider's perspective
Fight Club: Tyler Durden has an alter ego and the entire movie you think he is someone else.

3. Friendship can be inspiring
http://media.photobucket.com/image/friendship/ydoow_a/friendship.jpg

Vogler pg.'s 143-173

Summary
In this section of Vogler the approach to the inmost cave and the supreme ordeal are discussed. The approach is the final preparation in the story, as the hero must make him/her ready for anything prior to the supreme ordeal. The heroes are tested once more by a new set of threshold guardians because they are entering a new special world with different regulations. The tests they encounter may seem impossible because they are in life and death situations, since the approach also functions to heighten the stakes. Characters may switch roles as they encounter villains, and their encounters can help the hero regroup and encourage others. The ordeal is the point in the story when the hero faces the main crisis, but this is not the climax of the story. The hero is faced with some type of life or death situation, and the ability to survive it is the ultimate test of a hero. This crisis is usually the main event of the story and divides the story into two halves. After the hero faces life and death he/she is reborn and nothing is the same from this point on. The hero usually survives whatever the crisis may be because a taste of death is just as shocking and emotional for the audience. The ordeal is considered one of the deepest depressions and therefore leads to some of the highest rewards. The most common ordeal is a battle or confrontation with the enemy, however a hero's greatest opponent is his/her own shadow. A shadow represents the hero's flaws as well as fears and is projected in the form of demonizing. Other types of crises include love, negative animus/anima, an elder, a relationship, marriage, balance, or a parent. The hero's ability to overcome these crises make them stronger and ready for the next stage of the journey.
Reaction
I think it was interesting how Vogler laid out all of the different types of crises but only offered two examples of how the story can be structured, the central crisis and delayed crisis. I guess it makes sense that most stories follow a similar structure. But I think a story about the crisis of the heart is much different than a story with a hero battling a dragon. Regardless, I do agree with Vogler in that, "Good structure works by alternately lowering and raising the hero's fortunes and, with them, the audiences emotions" (161). I think that what the audience feels is definitely critical to the success of any story. I also liked the section on the hero's greatest opponent being himself/herself. Without being able to overcome personal fears or shortcomings the hero would never be able to deal with the ordeal and proceed with the rest of the story.
Reflection
So far throughout the hero's journey, the hero has had reoccurring relationships with many other characters, and specifically a villian figure. In this section of reading, that also holds true as the villian becomes the projection of the hero's downfalls and the human form of his/her fears. In many movies the villian dies instead of the hero to conform with keeping the audience happy, but occasionally the hero dies shocking the audience. Vogler warns about the dangers of doing this but I think it's a suitable alternative to provide variety and experiment with the audience's emotions. I think that a movie can still be good and successful even if the hero dies,such as Gran Tourino starring Clint Eastwood, it all depends on how it is executed; and this relates back to importance of the structure of a good story.
Questions
1. Vogler suggests Adriane's Thread as a way to connect the hero to loved ones in the story. Can you think of any other accessory structure to the hero's journey?
2. Do you agree with Vogler that the approach to inmost cave is a separate special world? Why or why not?
3. "The ordeal can be defined as the moment the hero faces his greatest fear" (Vogler 169), do you think that a hero can face his greatest fear prior to the ordeal? What about a hero overcoming a personal flaw in order to take the journey in the first place?

Volger pg.'s 127-141

Summary
In this section of Vogler crossing the first threshold and test,allies, and enemies are explored. Crossing the threshold is the point in any story when the hero is totally committed to the journey. To reach this point the hero might have experienced an event that brings on the story or escalates the situation. The hero will also be tested and trained in crossing the threshold by threshold guardians. Crossing the threshold can also be signified by crossing physical barriers such as bridges, canyons, cliffs, etc. As well, any transition such as a musical cue or stark visual difference between the first and second act is considered crossing the threshold. In order to cross the threshold the hero must be ready to make a leap of faith which requires an extraordinary amount of courage because from this point on nothing will be the same. Once this choice has been made the hero will be tested in many ways. The hero will face obstacles while in the special word but at first they are most likely not life and death situations. To aid the hero along the journey allies are usually made and enemies are confronted, learning who to trust is very important. The ally can take the form of a sidekick to provide camaraderie, comic relief, or whatever the hero may be lacking. Heroes can join forces with other people along the way and form teams to tackle the various obstacles they face. Upon officially being in the special world, new rules apply and must be learned quickly, which tests the adaptability of the hero. Lastly, Vogler discussed watering holes, such as bars and saloons, as a place for congregation and a way to get information about a new place.

Reaction
I like the Disney metaphor,"A story is like an airplane flight, and Act One is the process of loading,fueling, taxiing, and rumbling down the runway towards takeoff. The First Threshold is the moment the wheels leave the ground and the plane begins to fly" (131). I think that is a good analogy for crossing the first threshold, and conveys the significance of this element of a story. The plane needs to leave the ground, but what happens if it doesn't? I think this is a reasonable consideration and I'm wondering where a story is supposed to go if this is the situation. However, I do agree with Vogler about testing, allies, and enemies. Testing the hero is a good way for the audience to get to know the hero and what they are going to be like. As well, how they encounter enemies and deal with such situations will continue to reveal character. I think the ally archetype is essential for this part of the hero's journey because allies can shape and influence the hero at this stage, which in turn affects who they are for the rest of the story.

Reflection
While reading this week's assignment the movie Shrek constantly came to mind. Shrek has leave his swamp and cross the first threshold begin his quest through the forest. This is brought about because his swamp is in danger of being taken away from him by Lord Farquad, and requires Shrek to take action. He goes to Dulock and finds out that he has to rescue a princess in order to keep the swamp, therefore raising the stakes and triggering the crossing. The adventure through the forest to get the princess is visually much different from the swamp and it is obvious that he has reached the special world. While rescuing the princess, Shrek's courage, strength, and determination are tested. He has to get pass the dragon to save her and this requires a special courage. Donkey is his ally and sidekick. Donkey has a sense of humor, is laid back, and a fun character who provides comic relief as well as making up for Shrek's lack of a personality. I think Shrek is a good contemporary example of what Vogler is describing in comparison to the Wizard of Oz in the text.

Questions
1. How would you change the hero's journey to accommodate if he/she never acquires the special courage to cross into the special world?
2. What is an example of "transitioning" into the special world that Vogler did not mention?
3. Why does a hero need to be tested in the special world if he/she has already crossed the threshold? How does a test function to build character?

Vogler pg.'s 105-127

Summary
In this section of the reading Vogler describes the "Refusal of the Call" and "Meeting with the Mentor." Refusal of the call is a temporary road block along the heroes journey that is a natural response until the refusal is overcome or the stakes are raised. Heroes may try and avoid the call with excuses or another conflicting call. However, some heroes are more willing than others and may even seek out adventure themselves, but they may be halted by a threshold guardian along the way. Threshold guardians serve to question the hero's motives and willingness for adventure before they begin their journey, as well as creating emotional suspense in the story. Meeting with the mentor is critical to the story because the hero acquires knowledge, tools, confidence, and guidance from this figure in order to prepare for some aspect of the journey. The mentor may not be a person but rather a source of wisdom that the hero consults such as a map or chart. In myth mentors are usually known for giving magical gifts or being magical protectors themselves; Chiron, the half-man/half-horse is a popular Greek mentor who is a prototype for wise old men and women. The true "Mentor" is actually Odysseus' friend but the manifestation of the mentor archetype is seen through the character Athena. She helps Telemachus out of many situations while Odysseus is away, intervening throughout the story with guidance, wisdom, and gifts. Her appearances are important to get Telemachus past his doubts and fears, an essential function of the mentor. Although the mentor is usually seen as a positive influence on the hero sometimes the relationship can take a turn for the worst.

Reaction
Although Vogler incorporates "The Refusal of the Call" into one of the steps of the heroes journey I don't necessarily think that it is needed in every story. If a hero is willing and ready to take on the quest then the refusal of the call isn't really applicable. Although, I do agree it is an important time to signal to the audience the journey may be risky, I also think in "The Call to Adventure" the dangers of the journey are already made obvious. When I think of a hero refusing a call I tend to think of the tragic hero and think this part of the journey makes the most sense to that specific hero. But, I do think "Meeting with the Mentor" is necessary to every story. I could not agree more with Vogler, "Some stories don't need a special character solely dedicated to perform the functions of this archetype, but at some point in almost any story, the Mentor functions of helping the hero are performed by some character or force, temporarily wearing the mask of the mentor" (124). Vogler's statement sums up the function of the mentor character and why he/she/it is important. A mentor can be the center of the story, or a hero that has gained enough experience to share it with others. Whoever or whatever the mentor is is not significant, yet the role they take on in the story will critically change and shape the heroes journey.

Reflection
Not only do "Refusal of the Call" and "Meeting with the Mentor" apply to stories, books, movies, and plays, they also are important in life. I can think of several times when I have thought I couldn't achieve something such as a grade in a certain class, and I sought out advice from a teacher or mentor figure to encourage me along. Eckerd has its own mentoring system here which is unlike other colleges. I think this is a great idea and a good alternative to leaving a student with no guidance throughout college on what classes to take or internship/job to get involved with. Eckerd recognizes the importance of the mentor figure in giving support and guidance and it's nice to know I can talk to someone when I need to. Also, having a mentor can push me to do something I normally wouldn't or give me the necessary tools to succeed. I have had a very positive experience with my mentor while at Eckerd and have done an independent study with his help.

Questions
1. Is there a story/movie where the hero does not come in contact with some source of wisdom before committing to the adventure?
2. What consequences/benefits does the hero gain from meeting with a mentor or source of wisdom?
3. In the example of the three little pigs refusing to open the door for the big bad wolf , do you agree with Vogler that they were wise or do you think they were cowardly heroes?

Vogler pg.'s 83-105

Summary

In this section of the reading Vogler discusses "The Ordinary World" as well as the "Call to Adventure". The beginning of the story is where the ordinary world is set-up and sometimes a prologue can even precede this part of a story if necessary. The hero must be shown in his or her ordinary world in order for the reader to be able to recognize when they enter their special world. This is also a place for them to "make an entrance" and for the reader to become aware of who this hero is. What the hero is doing when he/she makes an entrance is critical to the story because their actions give suggestions about what he/she is going to be like. Also, making the hero relatable as well as showing what they lack is necessary for a successful piece. The call to adventure is the trigger to get the piece moving. The call to adventure can be given by a herald or messenger type character and can be delivered in many forms: temptation, distastefulness, a loss, or the only option. Regardless, the call to adventure is an unstable situation that requires the hero to act and shows the necessity for change. The hero may be reluctant or not depending on what type of hero he/she may be.



Reaction

I liked Vogler's use of The Wizard of Oz to further clarify the ordinary world and the call to adventure. I never thought of the use of black and white/color to show the differences between the ordinary world and the special world, but now it all makes sense. I also never realized that the three farm hands that helped her later translate to the lion, the tin man, and the scare crow. This portrayal echoes Vogler's idea about foreshadowing the story in the ordinary world. I agree with Vogler, "The opening of any story, be it myth, fairy tale, screenplay, novel, short story, or comic book has some special burdens to bear. It must hook the reader or set the tone of the story, suggest where it's going, and get across a mass of information without slowing the pace" (83). I think these two sentences are the most important part to take away from this reading. As, a reader if I am not engaged from the beginning of a story I am less inclined to keep reading or take interest in it.



Reflection

After I submitted the first draft of my story, you wrote nice ordinary world section. I guess I subconsciously had an idea of the "ordinary world", but after reading this section of the book I feel there are other considerations, and more that I can add. Sometimes it seems the beginning of the story is the hardest to write because it needs to be informative as well as interesting without being too lengthy. I often find myself writing the whole paper and then going back and writing the introduction after I have decided what the most important things are to convey to the reader. In movies especially the ordinary world can make or break the rest of the audience's experience. I particularly enjoy watching the hero in his/her ordinary world in fairy tale movies, and then seeing the comparison with them entering the special world. I think the recent Disney movie Enchanted does an excellent job with this contrast.

Questions:

1. What do you believe is the most necessary piece of information to convey to the reader/audience in the beginning of any story? Why?

2. What types of things do you look for to identify with a hero?

3. Do you agree with the statement,"Various theories of screenwriting acknowledge the Call to Adventure by other names such as the inciting or initiating incident, the catalyst, or the trigger" (Vogler 8). Why or why not? Do you think a story can be "triggered" before call to adventure?

Peer Review Feedback

I found my peer review feedback to be very helpful. It brought many things to my attention that I hadn't noticed as I was writing. I need to vary my sentence strucutre, as I start many of them them with the word "I", and I still have some akward sentences. I was informed of the strengths of my piece and now I feel that I have additonal ideas about how to strengthen my paper.

Narrative Revision Plan

Strengths:
1. I think that I have a good foundation on my story because my experience has been so influential. I know what I want to tell the reader and what the main parts of my story are.
2. I think that the middle of my paper is the most solid because it is backed with particular memories, feelings, and important details. I think that this section is easy to read and relatable.

Weaknesses:
1. I have a lot of general statements about my experience. I think that by adding supporting detail my paragraphs would be stronger; they would provide a better connection and be more engaging for the reader.
2. I need to refocus what I have taken away from my experience. I think that I need to decide what the most important lessons/realizations were and be clear and specific in conveying them to the reader.

Vogler - Archetypes Cont.

Summary

The remaining archetypes: the threshold guardian, herald, shapeshifter, shadow, ally, and trickster were discussed in this section of the reading. Threshold guardians function to test and challenge the hero in a story. They can come in many forms such as a bodyguard, watchmen, or doormen, and they represent the obstacles that we face in the world. Heralds are characters that announce a danger or challenge to the hero, recognizing the need for change. The herald will usually enter the story towards the beginning to engage the hero in "the call to adventure", therfore providing motivation to the hero and bringing the story to action. The shapeshifter archetype can be male/female and is characterized by a changing appearance, mood, or the ability to keep the hero guessing. A common shapeshifter is the femme fatale which portrays the women as a temptress or destroyer, this can also be expressed as a homme fatale. The shapeshifter is one of the most flexibile archetypes because any character can become one for a temporarily when given the appropriate situation. The shadow represents the dark side and is most commonly depicted as the villian or enemy in the story. The shadow functions to challenge the hero and give him/her some resistance. The Ally is the character that the hero can talk to, be consoled, or questioned by and is typically the "sidekick" in a story. A hero can acquire many allies, and the hero-ally relationship plays a critical role to the story because of its diverse qualities. The trickster character provides comic relief in a story as well as pointing out the flaws a hero / situation may have. Tricksters are often catalyst characters which means that they remain unchanged in a story while changing other characters lives.



Reaction

I like Vogler's statement, "The archetypes are an infinitely flexible language of character [...] The archetypes can be used to make characters who are both unique individuals and universal symbols of the qualities that form a complete human being" (79). I think archetypes are essential components to any story because of the combination of relatability and uniqueness. One thing that I started to notice in this section of the archetypes was that Vogler repeatedly said any character can become the shadow, trickster, etc. It seems that there is definitely a lot of overlap between some of these archetypes. But, this can also lead to the complexity and lure of a story; if a character keeps switching "masks" throughout, I find myself more on my toes, unless it becomes confusing.



Reflection

I really enjoyed the Trickster section and I thought Vogler's connection with native folktales was really interesting. I never thought of Bugs Bunny as the modern day version of the hare, but after reading this section it totally makes sense. Bugs Bunny is an archetype echoing the past, but his character showcases his witty ability to weasel out of any situation. His character has ancient roots and a purpose, as well as providing entertainment as a cartoon. Being a fan of Disney, I think that Vogler was right on about some of my favorite villians: Cruelle D'Eville, the queen from Snow White, and Captain Hook. He states, "They are even more deliciously sinister because of their dashing, beautiful, or elegant qualities" (67). I could not agree more with that statement; the vision of Cruelle D'Eville in her long fur coat smoking a cigarette will always be engrained in my mind as the ultimate villan.

Questions
1. After this week's reading do you think that there is an archetype that should be added to Vogler's list? Why?
2. Or do you think that one of the archetypes has become fazed out of our contemporary movies & stories?
3. Do you agree with Volger's statements about these archetypes coming from ancient wisdom, such as the trickster character being seen as early as the hare and the tortoise?

Vogler pg.'s 23-47

Summary
Archetypes are a concept introduced by Carl Jung and refer to the collective unconscious patterns of personality. In storytelling these common prototypes give way to a shared experience among everyone, in addition to being the various aspects of a hero's personality. A hero is someone that we can identify with through universal qualities but he/she must also be unique. A hero is usually of two types: willing and unwilling, and can take many forms in a story such as group-oriented, loner, anti-hero, tragic hero, and catalyst hero. But, the hero must grow or change in someway. The hero doesn't have to be perfect and through his/her flaws he/she will become humanized and much more appealing to the audience. Along the hero's journey and transformation hep and guidance will be needed, and this is where the mentor figure intervenes. A mentor functions to aid the hero and even act act as a conscience, but their teachings and help should be earned. The mentor must motivate the hero although the mentor may have some internal struggles or might still be trying to find their way as well.

Reaction
I think that Vogler did a good job laying out what a hero is and what his/her function is in a story. He provides many examples of the diversity of the role of the hero but also identifies necessary qualities that this character must have to be a "hero." I agree that there are many varieties of a hero but, "Heroes are symbols of the soul in transformation, and of the journey each person takes through life" (37). I think that is what separates the hero from another character in a story, and allows the audience to be able to pick out that character. I thought it was interesting how Vogler also presented many different faces of the mentor. I never really thought of there being a mentor role in a romantic comedy or the mentor as growing or changing himself; he had good examples in the text that opened up my eyes to new things.

Reflection
When you asked us who our childhood heroes were everyone in the class had such different answers from the little mermaid to yours as Dolly Parton. I think that the responses just in our own class are proof for many of Vogler's points in the reading. The hero is widespread yet functional in such a broad range of ways. There isn't a specific molding that has to be fit which is why I think we have so many different types of heroes that we look up to. And this allows for every person to be able to find someone that they can relate to. Whenever I think of a mentor character I can't help but think of Jiminy Cricket from Pinocchio. In my mind he fits the typical description of what a mentor should be, always guiding and interferring whenever Pinocchio needed help.

A Practical Guide

Summary
A practical guide introduces the idea of the "hero" and the many steps of his/her "journey". Vogler suggests that the hero's journey is something universally felt in our unconsciousness and that is why we can empathize and sympathize for any given character. He then goes on to describe the process of the journey where the hero if first introduced into the ordinary world to establish a comparison. Then the hero has a call to adventure but they at first refuse until a guiding figure intervenes and encourages the hero to go. The hero must then cross the threshold into their new world where he/she crosses paths with enemies or is tested in some way to develop character. Next, the hero must plan and approach the in most cave which is some type of dangerous place before he/she is faced with a brush of death or a critical point in the journey. After that the hero recieves some type of reward and then starts to journey back where the hero is again confronted with a "dark force". The hero then decides to return back to the ordinary world where he/she will encounter one last life or death moment until the hero can return home. The hero must return with some type of knowledge or treasure taken from the journey or else it will become meaningless. These steps aren't definite and can be rearranged/changed, which is why we have so many new stories.

Reaction
I really enjoyed the reading and particularly Vogler's style of writing. I think that it was clever to construct this book around popular movies because it is so relatable. Everything that he explained was supported by something in a movie. The only problem with this is that I havent seen Star Wars, An Officer and a Gentlemen, or Beverly Hills Cop which he heavily relied on in this section; so sometimes I couldn't really relate to what he was saying, but when I had seen the movie things became crystal clear. I agree with Vogler's ideology and the hero's journey. I think its a very good explanation for the set-up and execution of the story of any hero. As I was reading I felt that everything started to make sense as to why I react a certain way when it appears that the hero might die and I truly agree with the statement, "What happens to the hero happens to us."

Reflection
I took intro to human development at Eckerd and have read about Carl Jung and his theory about archetypes and a universal unconsciousness before. I thought it was interesting that Vogler chose to back up his theory with Jung's ideas and this leads to the fact that so many different disciplines are interrelated. I think that Vogler was pretty dead on with the statement that, "They are psychologically valid and emotionally realistic even when they portray fantatastic, impossible, or unreal events." I think that statement can be linked to why people can relate to Superman or Cinderella and it is also why people are drawn to such fantasy characters when they think of a hero. This is personally true for me and seems to be the case after the discussion that we had in class on Friday.

Questions:
1.Why do you think the repeating characters such as the young hero or the wise old man have such an appeal generation after generation?
2. Why have these characters become engrained in our dreams and fantasies in the first place and not something else?
3. What step would you add or delete to the hero's journey and why?

* My Childhood Hero *

Ever since I've been little I haven't lived far from the beach and I've always had a fascination with the ocean and all the creatures it holds. My family has a beach cottage where I've spent many hours playing in the sand, crabbing, building zoos for animals, and swimming. Also, my Mom used to tell my brother and I that she was formerly a mermaid until she met my Dad. My Dad then took her out of the ocean and brought her to land where she kept her fin in the closet at our house. I believed this for quite sometime until I was old enough to realize the truth.

The Little Mermaid is definitely one of my favorites and as a child a movie that I was always watching. Ariel was my childhood hero because she was able to live underwater and interact with the fish and crabs, as a little girl I thought that was so cool. I thought that mermaids were beautiful (well I still do) and of course she had an amazing voice. I was amused by all her trinkets and her friend Sebastian. I thought that she was brave when she encountered Ursula and also that she was smart to be able to get away from her. I thought that Eric was a major hottie and she was also a rebel in my eyes. Ariel was everything that I wanted to be, afterall my Mom was a mermaid too.