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?
Sunday, April 19, 2009
Wednesday, April 8, 2009
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?
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
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
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
Sunday, March 29, 2009
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?
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?
Sunday, March 8, 2009
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?
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?
Sunday, March 1, 2009
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?
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?
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