Reflect
I have written the four modes and posted them on my blog. The way i went about this was by answering each question asked in the sheet given to us and then combing everything into a paragraph's. I looked up different clips on youtube that brought up the emotions i wanted and found a photo that would make the most hard hearted person feel something. I also did my community service hours and will be going again tomorrow. Last saturday i made sandwhichs for homeless people and then drove down town where we handed them out. It was a very sad sight.
Action
I need to do my interveiw
Friday, November 21, 2008
Monday, November 10, 2008
ana bib 231-290
Gregory Dwyre
Pledged
Annotated Bibliography
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 231-290.
This section is very different from the other ones we have been reading. His goal in this section is for us the reader to take the lessons we have learned about the heros journey and view and examine them in other works. HE starts by saying the the heroes journey is just a guide line and that people like it when you don’t always follow it and are creative about telling the story. He gave a good idea for when you are writing the story about putting different pieces of information down on 12 note cards, that way you can move around different event not cementing it in one area.
He first talks about the Titanic. Talks about the opening scene with Rosie who tells the story being found by man looking for clues and diamond from sunken boat. He goes on the example and point out different scenes and where they fall under the hero’s journey. He talked about how the timing of the movie was very important with the discovery of the Titanic being very recent. With this movie he talked about a very interesting idea called Denouement- untying knots smoothing out the story which is what happens in the Titanic when she throws he diamond off the boat.
Next he talked about the Lion King. He commented on how he helped work on it and the creative process. He talks about the stories out line and the journey of simba, starting off with the baptism of Simba and his connection with the church. He wasn’t happy with many parts of the movie, things in wrong place and other things not added or taken out
The next film was Pulp Fiction, this movie he says is seen a story that is full of different scenes that connect here and there, like a broken mirror. Said that this type was perfect for this time period with war and the fragmented mind state of many people.
The next movie he talks about is the full Monty which is about a guy in economical down fall gets idea-stripping- and changes his life. He goes once again into the different stages of the heroes journey with this story.
The last thing he talks about is Star Wars. He basically sums up every important thing that happens in all the movies and gives away a lot about the movies. He talks about how it was a very good movie, that combined pop culture and all his ideas very well and that having it as as eries over time helped make it even bigger
I found his talk about the 12 cards very interesting and what seemed to me as a useful tool when trying to construct as story. It gives you free will to move scenes around so that you can find where they fit best. It helps you clear your mind and understand what you want out of your story.
Questions
1) Why is examining other stories important?
2) Is he in love with star wars?
3) What are some of the ways you can look at a movie and break it down into its basic elements?
4) Do you think Volgers Lion King would have been better? (NO)
Pledged
Annotated Bibliography
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 231-290.
This section is very different from the other ones we have been reading. His goal in this section is for us the reader to take the lessons we have learned about the heros journey and view and examine them in other works. HE starts by saying the the heroes journey is just a guide line and that people like it when you don’t always follow it and are creative about telling the story. He gave a good idea for when you are writing the story about putting different pieces of information down on 12 note cards, that way you can move around different event not cementing it in one area.
He first talks about the Titanic. Talks about the opening scene with Rosie who tells the story being found by man looking for clues and diamond from sunken boat. He goes on the example and point out different scenes and where they fall under the hero’s journey. He talked about how the timing of the movie was very important with the discovery of the Titanic being very recent. With this movie he talked about a very interesting idea called Denouement- untying knots smoothing out the story which is what happens in the Titanic when she throws he diamond off the boat.
Next he talked about the Lion King. He commented on how he helped work on it and the creative process. He talks about the stories out line and the journey of simba, starting off with the baptism of Simba and his connection with the church. He wasn’t happy with many parts of the movie, things in wrong place and other things not added or taken out
The next film was Pulp Fiction, this movie he says is seen a story that is full of different scenes that connect here and there, like a broken mirror. Said that this type was perfect for this time period with war and the fragmented mind state of many people.
The next movie he talks about is the full Monty which is about a guy in economical down fall gets idea-stripping- and changes his life. He goes once again into the different stages of the heroes journey with this story.
The last thing he talks about is Star Wars. He basically sums up every important thing that happens in all the movies and gives away a lot about the movies. He talks about how it was a very good movie, that combined pop culture and all his ideas very well and that having it as as eries over time helped make it even bigger
I found his talk about the 12 cards very interesting and what seemed to me as a useful tool when trying to construct as story. It gives you free will to move scenes around so that you can find where they fit best. It helps you clear your mind and understand what you want out of your story.
Questions
1) Why is examining other stories important?
2) Is he in love with star wars?
3) What are some of the ways you can look at a movie and break it down into its basic elements?
4) Do you think Volgers Lion King would have been better? (NO)
Thursday, November 6, 2008
Presentation
During my exploration of Project 2 and the issues involved I read a lot about suffering and death. I saw images in my head of starving children, people suffering and living on the ground. The research reminded me of my trip to Ecuador where kids were beaten if they didn’t get enough money from begging. Over what I am trying to say from this image can be put into an equation “poverty=hunger+ starvation+ death”. I feel that this presentation is ment for people between the ages of 17 to 60 because ei feel that these people ewill be able to grasp the issues at stake and do something. The emotions brought out by this picture are sadness, pity, and disgust. The picture makes you look at your life and how you live and make you think “is it ethically/morally right to let this happen to someone?” In this picture I see the problem of poverty in Ecuador. In the back you see a vulture sitting just waiting. This bird represents the Ecuadorian government, and the upper class that is profiting off the rest of the country. The child represents the constantly growing lower class and their struggle to live descent human lives.
d. Song
Where is the love?
This song is about poverty and doing something to help. The song brings up the issues of the government not helping other people “turning the other cheek.” The song has images that go with it that bring the message home. The song talks about doing the right/morally right things “wheres the truth”. With the images and song you are drawn in, and soon emotions start flowing. Listening to the words and images you feel sad, but a sense of hope, as if there is something you can do to help. Logically the songs words are asking you a question “Can you let this happen?” The logical answers is no and makes you want to help. The words of the song are the important part. In the song the question of “where is the love” asked. The verse that hit me was “people killing people dying, children hurting you hear them crying, can you practice what you preach don’t you turn the other cheek” This sums up the effect of poverty – the hurting, death, and “turning of the other cheek”.
http://www.youtube.com/watch?v=tBhJvuAMHMM
http://www.youtube.com/watch?v=HJuOrb2hFt8&feature=related
http://www.youtube.com/watch?v=RmMhqpmZOJE&NR=1
http://www.youtube.com/watch?v=vtERmD5llpo&NR=1
Movie
City of God
The movie is about poverty and effect it has on kids lives. In this movie the kids grow up in gangs, robbing and shooting people, basically live a life of chaos and violence. When children have to live in poverty they are usually shown violence at a very early age. This movie is more for the older generation having subtitles. You wonder how these kids can live this way. Is it right for kids to lose their childhood? Watching the hardships and death that the kids have to go through, you feel sad for them. This movie shows you the problems, which shouldn’t be happening. The movie will help readers to connect to the idea of poverty on a whole new level, where they can see the horrible things happening in front of them and also see that bad things do actually happen to kids. This presentation combined with all these ideas will help show the different dimensions of poverty and how it affects people on so many levels
Book and poem
This book is about poverty in America and how people are struggling to make means end and live off of minim wage. This is similar to the idea of workers not making enough money to buy food and survive in Ecuador. The poem reflects how no body is really helping them. The over all theme of the book is that money is to low to survive off of, I think these writings are for older aged people. I had read the book for high school and from many of my peirs thoughts and reflections, I felt they hadn’t truly understood the message. This book brings up the thought of “how can you let this happen to some people” and makes you feel like you can not just stand around. You feel for the writer and all the problems she goes through, and how so many other people have had to live their lives this way makes you sad. With low income how can you survive a healthy life, logically you cant. If the reader was to read the book I think they would create a strong connection to the topic and be able to relate more to poverty and its effects. The book is about malnutrition and poor living conditions due to poverty in America. This is a good connection to the more extreme poverty in Ecuador. The poem talks about how people are not helping the poor and how they are not doing anything because it is not their problem yet.
Sunday, November 2, 2008
Ana bib 197-228
Gregory Dwyre
Pledged
Annotated Bibliography
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 197-228.
The next two part that Volger talks about is the resurrection and the return home with the elixir. The resurrection is described as the true climax of the story, being the last and most dangerous meeting with death. This is usually where there should be another death and resurrection scene. From this experience the hero is now a changed person and this resurrection is the final touch. The hero could go through a physical or mental or spiritual cleansing, or the event could be more life threatening with something such as a showdown. Usually to show that you succeeded the hero needs some sort of proof.
After being a changed person the hero needs to show it, which is usually what ends up happening on the return trip home. Volger goes into the different types of events that can occur, such as a tragic return where the hero doesn’t make it back but their memory lives on.
What I found interesting was when Volger talked a little about the two story forms. The one that most people in America are used to is the circular story form where all your questions are answered, and then there is the other form called the open form where there are many question left up to the audience to figure out. People tend to like the circular movies more.
1) Which of the many different ways to show that the hero has changed is the best?
2) What is our obsession with the death and rebirth
3) Why do you think America and Europe have such different views in how stories should end; real life verses fake?
4) Is the climax on the heroes way home? Also which is better a loud climax or a quiet subtle one
Pledged
Annotated Bibliography
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 197-228.
The next two part that Volger talks about is the resurrection and the return home with the elixir. The resurrection is described as the true climax of the story, being the last and most dangerous meeting with death. This is usually where there should be another death and resurrection scene. From this experience the hero is now a changed person and this resurrection is the final touch. The hero could go through a physical or mental or spiritual cleansing, or the event could be more life threatening with something such as a showdown. Usually to show that you succeeded the hero needs some sort of proof.
After being a changed person the hero needs to show it, which is usually what ends up happening on the return trip home. Volger goes into the different types of events that can occur, such as a tragic return where the hero doesn’t make it back but their memory lives on.
What I found interesting was when Volger talked a little about the two story forms. The one that most people in America are used to is the circular story form where all your questions are answered, and then there is the other form called the open form where there are many question left up to the audience to figure out. People tend to like the circular movies more.
1) Which of the many different ways to show that the hero has changed is the best?
2) What is our obsession with the death and rebirth
3) Why do you think America and Europe have such different views in how stories should end; real life verses fake?
4) Is the climax on the heroes way home? Also which is better a loud climax or a quiet subtle one
Extra Credit final
1)Donated 1000 grains of rice
2)My life is traveling the world- 6 words
3)
4)
5)Watched the videos- first one really stupid and boring, the movie clips were more interesting
6)My grandpa spends most the day on his own because everyone is always running around trying to do things. I decided to spend a whole day with him. He loved it was so happy.
7)Free Pass
8)Free Pass
9)
Big Bad Wolf Aka the shadow in heros journey
10)
I voted today, 202 near kmart
11) i sent my college essay
12)Went to every class
13) Used free pass on Volger
14)Free Pass
2)My life is traveling the world- 6 words
3)
A Grandmother Who Eased A Boy's Burdens
4)
5)Watched the videos- first one really stupid and boring, the movie clips were more interesting
6)My grandpa spends most the day on his own because everyone is always running around trying to do things. I decided to spend a whole day with him. He loved it was so happy.
7)Free Pass
8)Free Pass
9)
Big Bad Wolf Aka the shadow in heros journey
10)
I voted today, 202 near kmart
11) i sent my college essay
12)Went to every class
13) Used free pass on Volger
14)Free Pass
Friday, October 31, 2008
Bell Jar
This story is very hard to understand. The part i want to focus on is when the main character has sex. During the whole process she seemed to know what she wanted and remained calm the whole time. There were points where i thought that she was going to flip out, such as when she starts to bleed uncontrollably. I was almost sure that she was going to die with the types of words that the author was using to describe the scene. In the end she physically got what she wanted but i feel not what she mentally wanted. It didnt seem like her waiting was worth it.
Volger 175-194
Gregory Dwyre
Pledged
Annotated Bibliography
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 175-194.
In this section we are getting near the end of the heros journey. After the heros big ordeal and conflict there needs to be some sort of reward or prize. In this section Volger talks about what he calls the reward and the road back which follows. I liked the way Volger started off talking about the reward by saying no matter what at this point you, yourself have become a new person and then goes on to describe what types or rewards you could get and how characters celebrate or don’t. The most common situation after a ordeal is a celebration by the hero where energy needs to be replenish be it physical or mental energy, Volger says that a common and good place for this is around camp fires. Now an important concept is that after the ordeal there is some sort of reward and the hero gets this by one of two ways,; stealing or having it given to them. Along with good experiences with an ordeal there are some bad ones where the hero may pretend like nothing happened or have an over bloated ego. The next step is the road back, where two basic things can happen, either you go back on your own will or are chased back by a reoccurring villain or new trouble. The road back basically is the journey back to the original old world and the new challenges on the way whether it be a villain that you never finished off or a new problem.
I found the whole idea the main conflict not always being resolved by the ordeal to be strange. I feel that the ordeal should be the climax of the movie and so the point in which the problem is fully solved. I can understand when its only for a second or two that the villain seems to be coming back to the top. In our lives there are plenty of situations where you do a half job and it comes back to bite you in the butt but I don’t think that these situations are the major ordeal in your life. So I have come to the conclusion that during the ordeal the main problem is dealt with and fully finished so that the hero has no further problems.
1)Can the road back home leave you in the new world and as a viewer do you think this a positive or negative thing?
2) Do you think that because we are so used to the hero surviving the journey and makig his way home that when this doesn’t happen we atomically disapprove, ex I am Legend.
3) The lessons or changes that occur in a hero, does the reader identify more when the hero sees his own changes or when other characters see the chages and act differently?
What is an example of Magic flight on the return home
Pledged
Annotated Bibliography
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 175-194.
In this section we are getting near the end of the heros journey. After the heros big ordeal and conflict there needs to be some sort of reward or prize. In this section Volger talks about what he calls the reward and the road back which follows. I liked the way Volger started off talking about the reward by saying no matter what at this point you, yourself have become a new person and then goes on to describe what types or rewards you could get and how characters celebrate or don’t. The most common situation after a ordeal is a celebration by the hero where energy needs to be replenish be it physical or mental energy, Volger says that a common and good place for this is around camp fires. Now an important concept is that after the ordeal there is some sort of reward and the hero gets this by one of two ways,; stealing or having it given to them. Along with good experiences with an ordeal there are some bad ones where the hero may pretend like nothing happened or have an over bloated ego. The next step is the road back, where two basic things can happen, either you go back on your own will or are chased back by a reoccurring villain or new trouble. The road back basically is the journey back to the original old world and the new challenges on the way whether it be a villain that you never finished off or a new problem.
I found the whole idea the main conflict not always being resolved by the ordeal to be strange. I feel that the ordeal should be the climax of the movie and so the point in which the problem is fully solved. I can understand when its only for a second or two that the villain seems to be coming back to the top. In our lives there are plenty of situations where you do a half job and it comes back to bite you in the butt but I don’t think that these situations are the major ordeal in your life. So I have come to the conclusion that during the ordeal the main problem is dealt with and fully finished so that the hero has no further problems.
1)Can the road back home leave you in the new world and as a viewer do you think this a positive or negative thing?
2) Do you think that because we are so used to the hero surviving the journey and makig his way home that when this doesn’t happen we atomically disapprove, ex I am Legend.
3) The lessons or changes that occur in a hero, does the reader identify more when the hero sees his own changes or when other characters see the chages and act differently?
What is an example of Magic flight on the return home
Thursday, October 23, 2008
Strenghts and weaknesses
My weaknesses were that i need to make sure that i have good transitions because a lot of good quotes and ideas are no good if they dont connect to each other or make sense in the paper.
My strengths were that i had a strong outline telling me where i wanted my quotes and ideas and why. Also my other strength was that i had strong quotes to show my ideas
My strengths were that i had a strong outline telling me where i wanted my quotes and ideas and why. Also my other strength was that i had strong quotes to show my ideas
Tuesday, October 21, 2008
Ana bib number i forget
Gregory Dwyre
Pledged
Annotated Bibliography
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 143-173
There are two parts in this section that Volger talks about. The approach to the inner most cave and ordeal. He had some really nice examples for both which I will go into. When talking about the approach to the inner most cave I liked how he first described it as the heart of the new world. He goes on to describe the reasons for the approach which could be to get in one more laugh or time to get ready for big bang. There are different types of approaches depending on what type of hero you have created. Sometimes the hero might be direct and knock on the doors of cave while others are sneaker about it. Then he goes on to talk about the threshold guardian which we have already heard about. Once the hero has finished entering the cave there is no exit .
The next part was about the ordeal which he describes as “facing the greatest challenge and most fearsome opponent yet.” He talks al lot about how the hero has to go through a death and rebirth at this part and how the audience loves the taste and escape from death
The part I found very interesting is when Volger was talking about how once the hero is gone or temporarily gone we start to panic and “jump from character to character trying to find out who we want to spend the rest of the story following. Usually the hero comes back/is reborn but in the case of psycho this isn’t the case and we follow another character who seems very flawed.
Questions
How many inner most caves can you have?
Does the inner most cave always lead to the ordeal or can you have the ordeal with out the inner most cave.
Why do you think we like death and rebirth so much, and not just death on its own?
Can the ordeal be internal or does it need to be external so that the audience can relate better?
Pledged
Annotated Bibliography
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 143-173
There are two parts in this section that Volger talks about. The approach to the inner most cave and ordeal. He had some really nice examples for both which I will go into. When talking about the approach to the inner most cave I liked how he first described it as the heart of the new world. He goes on to describe the reasons for the approach which could be to get in one more laugh or time to get ready for big bang. There are different types of approaches depending on what type of hero you have created. Sometimes the hero might be direct and knock on the doors of cave while others are sneaker about it. Then he goes on to talk about the threshold guardian which we have already heard about. Once the hero has finished entering the cave there is no exit .
The next part was about the ordeal which he describes as “facing the greatest challenge and most fearsome opponent yet.” He talks al lot about how the hero has to go through a death and rebirth at this part and how the audience loves the taste and escape from death
The part I found very interesting is when Volger was talking about how once the hero is gone or temporarily gone we start to panic and “jump from character to character trying to find out who we want to spend the rest of the story following. Usually the hero comes back/is reborn but in the case of psycho this isn’t the case and we follow another character who seems very flawed.
Questions
How many inner most caves can you have?
Does the inner most cave always lead to the ordeal or can you have the ordeal with out the inner most cave.
Why do you think we like death and rebirth so much, and not just death on its own?
Can the ordeal be internal or does it need to be external so that the audience can relate better?
Tuesday, October 14, 2008
Volger page 127-141
Greg DwyreAnnotated bibVogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 127-141.
This section of Volger was very short. It goes over two small but important parts of the heroes journey; crossing the first threshold, tests, allies, and enemies. AS he states “crossing the first threshold is an act of the will in which the hero commits wholeheartedly to the adventure. For the hero to cross the threshold he was to have areason to which is the process of approaching the threshold. This could be a death in family, loss of a loved one, your daughter being kidnapped ect. Once the hero is ready to cross he has to face one more challenge, the threshold guardian to prove that he is truly ready. The step between the two worlds means entering a new and strange world very different from the previous one. In this new world the hero is “a freshman” and has to go through many challenges to prove that they can complete the mission. During these trials the hero can make friends and enemies. These enemies are not the main villain but usually someone the hero is competing with. One common type of companion Volger talks about is the side kick who often is the hero’s mentor for consciousness.
Once again relating this to film, when in film class we learned about what Volger calls the first plot point. This is very important because this is where the true adventure starts and if the hero is not ready things could go bad. I found it interesting how in the past they used to let you know when there was a plot point, while now a days each scene runs right into the next and there is a lot more left up to the audience.
Questions
Does an enemy that becomes the heros companion make a stronger story?
What would happen if the hero never crossed the threshold, or could defeat the threshold guardian?
How do you feel about the stories that start you right off in the action of the new world instead of easing you into the story by letting you get used to the ordinary world first?
Do you feel that by reading about these archetypes helps you in writing a stronger story?
This section of Volger was very short. It goes over two small but important parts of the heroes journey; crossing the first threshold, tests, allies, and enemies. AS he states “crossing the first threshold is an act of the will in which the hero commits wholeheartedly to the adventure. For the hero to cross the threshold he was to have areason to which is the process of approaching the threshold. This could be a death in family, loss of a loved one, your daughter being kidnapped ect. Once the hero is ready to cross he has to face one more challenge, the threshold guardian to prove that he is truly ready. The step between the two worlds means entering a new and strange world very different from the previous one. In this new world the hero is “a freshman” and has to go through many challenges to prove that they can complete the mission. During these trials the hero can make friends and enemies. These enemies are not the main villain but usually someone the hero is competing with. One common type of companion Volger talks about is the side kick who often is the hero’s mentor for consciousness.
Once again relating this to film, when in film class we learned about what Volger calls the first plot point. This is very important because this is where the true adventure starts and if the hero is not ready things could go bad. I found it interesting how in the past they used to let you know when there was a plot point, while now a days each scene runs right into the next and there is a lot more left up to the audience.
Questions
Does an enemy that becomes the heros companion make a stronger story?
What would happen if the hero never crossed the threshold, or could defeat the threshold guardian?
How do you feel about the stories that start you right off in the action of the new world instead of easing you into the story by letting you get used to the ordinary world first?
Do you feel that by reading about these archetypes helps you in writing a stronger story?
Thursday, October 2, 2008
Revision Plan for Project One
Revise
My conclusion I need to add and tell the audience what I learned and say what they should get out of it.
As you wrote I need say what I what the read to get out of my story or paragraph “treat it like a hyperlink”
I want to expand and explore my relationships with the characters more so that the reader can relate to them more.
Edit
I need to work on my transitions. I have paragraphs that just jump around in time with no connection
Commas are a big issue with me, I add them,,,,, where they shouldn’t be and not where they should be
There are a couple run on sentences and miss spelt word plus missing words= I need to fix that
Its to good need to fix that because no one will be able to relate to something perfect
My conclusion I need to add and tell the audience what I learned and say what they should get out of it.
As you wrote I need say what I what the read to get out of my story or paragraph “treat it like a hyperlink”
I want to expand and explore my relationships with the characters more so that the reader can relate to them more.
Edit
I need to work on my transitions. I have paragraphs that just jump around in time with no connection
Commas are a big issue with me, I add them,,,,, where they shouldn’t be and not where they should be
There are a couple run on sentences and miss spelt word plus missing words= I need to fix that
Its to good need to fix that because no one will be able to relate to something perfect
Ethos and pathos song not ready to make nice
Not Ready To Make Nice lyrics
Forgive, sounds goodForget, I’m not sure I couldThey say time heals everythingBut I’m still waitingI’m through with doubtThere’s nothing left for me to figure outI’ve paid a priceAnd I’ll keep payingI’m not ready to make niceI’m not ready to back downI’m still mad as hell andI don’t have time to go round and round and roundIt’s too late to make it rightI probably wouldn’t if I could‘Cause I’m mad as hellCan’t bring myself to do what it is you think I shouldI know you saidCan’t you just get over itIt turned my whole world aroundAnd I kind of like itI made my bed and I sleep like a babyWith no regrets and I don’t mind sayin’It’s a sad sad story when a mother will teach herDaughter that she ought to hate a perfect strangerAnd how in the world can the words that I saidSend somebody so over the edgeThat they’d write me a letterSayin’ that I better shut up and singOr my life will be overI’m not ready to make niceI’m not ready to back downI’m still mad as hell andI don’t have time to go round and round and roundIt’s too late to make it rightI probably wouldn’t if I could‘Cause I’m mad as hellCan’t bring myself to do what it is you think I shouldI’m not ready to make niceI’m not ready to back downI’m still mad as hell andI don’t have time to go round and round and roundIt’s too late to make it rightI probably wouldn’t if I could‘Cause I’m mad as hellCan’t bring myself to do what it is you think I shouldForgive, sounds goodForget, I’m not sure I couldThey say time heals everythingBut I’m still waiting
Forgive, sounds goodForget, I’m not sure I couldThey say time heals everythingBut I’m still waitingI’m through with doubtThere’s nothing left for me to figure outI’ve paid a priceAnd I’ll keep payingI’m not ready to make niceI’m not ready to back downI’m still mad as hell andI don’t have time to go round and round and roundIt’s too late to make it rightI probably wouldn’t if I could‘Cause I’m mad as hellCan’t bring myself to do what it is you think I shouldI know you saidCan’t you just get over itIt turned my whole world aroundAnd I kind of like itI made my bed and I sleep like a babyWith no regrets and I don’t mind sayin’It’s a sad sad story when a mother will teach herDaughter that she ought to hate a perfect strangerAnd how in the world can the words that I saidSend somebody so over the edgeThat they’d write me a letterSayin’ that I better shut up and singOr my life will be overI’m not ready to make niceI’m not ready to back downI’m still mad as hell andI don’t have time to go round and round and roundIt’s too late to make it rightI probably wouldn’t if I could‘Cause I’m mad as hellCan’t bring myself to do what it is you think I shouldI’m not ready to make niceI’m not ready to back downI’m still mad as hell andI don’t have time to go round and round and roundIt’s too late to make it rightI probably wouldn’t if I could‘Cause I’m mad as hellCan’t bring myself to do what it is you think I shouldForgive, sounds goodForget, I’m not sure I couldThey say time heals everythingBut I’m still waiting
Bug thing
1. Connect the Ordinary World and the Call to Adventure to your reading of Book 1 of _The Metamorphosis_ Explain the connection. The book starts off with Gregor as a bug so the ordinary world is not him being human. I feel that the ordinary world is when Gregor is in his room because that is where is comfortable and where he still feels like himself. The call to adventure was when the boss comes over to see if he is really sick. This causes Gregor to get out of bed and open his door and enter the new world, which is harsh. 2. Are there any social issues being critiqued in the story? How does "The Red Scare" relate to Kafka's work?I think that the social issue being critiqued here is about how irrationally people act from their first impressions of things. In the story the boss runs away from Gregor after looking at him. The dad hurts Gregor by forcing him back in to room.Another issue is about how we treat people. From the story it seems that the family has treated Gregor like he isn't human any more and when actually turns into a bug they all turn their backs on him The red scare was all about people acting on their hysteria and initial reactions. In the book no one but Gregor seems to be using his or her brain. The dad freaks and acts without thinking shoving Gregor back into his room. The mom breaks down crying and wont listen or accept her son. Everyone was so ready to forget that he was their son and treated him like a stranger. This was the same in the red scare, people turned their backs on each other and for got that everyone was human 3. What does Gregor turn into in the story? a monstrous vermin or a giant insectcockroach
Monday, September 29, 2008
Ana bib
Greg Dwyre
Annotated bib
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for
Writers. Boston: Michael Wiese Productions, 2007. 83-105.
During this section Volger talks about the start of the heroes journey. This includes
describing life before the adventure starts, and what causes the hero to go on the
adventure. He talks about how all stories need a hook to take the reader in and keep
their attention. I agree with him about how the beginning is one of the more important
parts of the story and that if you don?t have a good start then you lose the reader and
thus the story is done. Some stories start with off with a back-story, or some action
before the ordinary world. These things can give hints to what is to come or what?s
wrong with the hero?s ordinary world. There are a couple of important parts to the
ordinary world, which enable the hero to go on to the next stages of his journey. First
you need to have a clear contrast between the ordinary world and the mysterious new
world. To have a complete reason for the hero to need to leave the ordinary world you
need inner and outer problems. The outer are physical and deal with something in the
ordinary world. The inner has to deal with problems that the hero has to face and
conquer threw out his journey. This inner is usually are focused on something the hero
lacks like patience. The main purpose of the ordinary world is to establish what is at
stake and it has to be important or you leave the audience saying so what. Once you have
the ordinary world set up you need something to start on the hero on his way.
This is called the call to adventure. The call to adventure is the trigger that changes
the hero?s life. The Herald or mentor is usually what gives the hero this call and be
through things such as messages or a certain event that changes their life tin a way that
cant be ignored. Some times the change rely completely on the hero with him just being
restless or fed up with their life. What the call to adventure basically comes down to
is there is a change that moves the hero from the ordinary world to the new world.
From all the things that Volger brought up I want to focus and analyze what is the first
thing you want your audience to think and know about the movie. In the text he says
?today many elements go into making those first impressions before the book or the movie
ticket is bought.? As someone who has taken a lot of videography classes I have learnt
about one method in particular, commercials. These are a tool for film industries to
call in a audience of their choice. They can make a comedy seem scary or a romance seem
like a action movie. Their goal is to get you to buy the ticket and after that they
don?t care if its not what you expected. Though this is also a good tool for getting
the audience ready for the movie and in the right mood/state of mind. When you go to a
movie what do you expect? I am pretty sure there has never been a time when you haven?t
know what your going to see.
Questions
1) How big of a contrast do you need between the ordinary world and the new world? Is
there ever a time where maybe the hero does leave the ordinary world that everything
happens in that world?
2) How important is the beginning of a story? If a story has a slow or bad start will
people not enjoy the rest of the story even if its very well written?
3) Stories where the hero is either not relatable or distant usually leave you a little
dissatisfied, why?
4) Why is it that we like heroes who are lacking in qualities that make them good and
complete people?
Annotated bib
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for
Writers. Boston: Michael Wiese Productions, 2007. 83-105.
During this section Volger talks about the start of the heroes journey. This includes
describing life before the adventure starts, and what causes the hero to go on the
adventure. He talks about how all stories need a hook to take the reader in and keep
their attention. I agree with him about how the beginning is one of the more important
parts of the story and that if you don?t have a good start then you lose the reader and
thus the story is done. Some stories start with off with a back-story, or some action
before the ordinary world. These things can give hints to what is to come or what?s
wrong with the hero?s ordinary world. There are a couple of important parts to the
ordinary world, which enable the hero to go on to the next stages of his journey. First
you need to have a clear contrast between the ordinary world and the mysterious new
world. To have a complete reason for the hero to need to leave the ordinary world you
need inner and outer problems. The outer are physical and deal with something in the
ordinary world. The inner has to deal with problems that the hero has to face and
conquer threw out his journey. This inner is usually are focused on something the hero
lacks like patience. The main purpose of the ordinary world is to establish what is at
stake and it has to be important or you leave the audience saying so what. Once you have
the ordinary world set up you need something to start on the hero on his way.
This is called the call to adventure. The call to adventure is the trigger that changes
the hero?s life. The Herald or mentor is usually what gives the hero this call and be
through things such as messages or a certain event that changes their life tin a way that
cant be ignored. Some times the change rely completely on the hero with him just being
restless or fed up with their life. What the call to adventure basically comes down to
is there is a change that moves the hero from the ordinary world to the new world.
From all the things that Volger brought up I want to focus and analyze what is the first
thing you want your audience to think and know about the movie. In the text he says
?today many elements go into making those first impressions before the book or the movie
ticket is bought.? As someone who has taken a lot of videography classes I have learnt
about one method in particular, commercials. These are a tool for film industries to
call in a audience of their choice. They can make a comedy seem scary or a romance seem
like a action movie. Their goal is to get you to buy the ticket and after that they
don?t care if its not what you expected. Though this is also a good tool for getting
the audience ready for the movie and in the right mood/state of mind. When you go to a
movie what do you expect? I am pretty sure there has never been a time when you haven?t
know what your going to see.
Questions
1) How big of a contrast do you need between the ordinary world and the new world? Is
there ever a time where maybe the hero does leave the ordinary world that everything
happens in that world?
2) How important is the beginning of a story? If a story has a slow or bad start will
people not enjoy the rest of the story even if its very well written?
3) Stories where the hero is either not relatable or distant usually leave you a little
dissatisfied, why?
4) Why is it that we like heroes who are lacking in qualities that make them good and
complete people?
Tuesday, September 23, 2008
Ana bib 3
Gregory Dwyre
Pledged
Annotated Bibliography
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 49-80.
In this section Volger focuses on the people/archetypes that the hero might encounter. These include the threshold guardian, the herald, the shape shifter, the shadow, and the ally. The threshold guardian is an interesting character, they are the person who stands in the way of the hero from entering a new world. I like how Volger said you are not suppose to defeat them but to incorporate them. In many stories you can see what Volger is talking about when he says there is a symbiotic relationship between villain and threshold guardian. I feel that what the threshold guardian stands for is the hero’s inner demons in physical form.
The Herald I felt was like a mentor with out the guidance. He herald comes in gives the hero a challenge and a kick in the butt to get him started. I liked how Volger said that the Herald doesn’t have to be a person, that it could be a storm or such.
The shape shifter was one of the more difficult characters to understand and felt that it could be stretched among a lot different situations. The nature of the shape shifter according to Volger is to be shifting and unstable. This character appears to be changing constantly from the hero’s point of view. In most stories these characters are witches, wizards and such. He focuses the shape shifting idea more to how girls and guys act and how we think they are suppose to act, such as mood swings.
I found this to be a very hard character to understand. The shadow is used to represent the dark side, the unexpressed, unrealized, or rejected aspects of something. I really liked how he broke down this part of the shadow saying that the shadow “can be all the things we don’t like about ourselves, all the dark secrets we cant admit, even to ourselves.” The important thing that Volger points out is that the Shadow might not be 100% evil and that it can be a good idea to humanize them.
The Ally plays an important role. They are then to provided company guidance help to the hero during the journey. They can act as the heros conscience when the hero is able to use it. I liked how Volger says that a important job of the Ally is to humanize the hero making them more open and balanced. The hero could have one Ally or a thousand.
The last character that Volger talks about is the Trickster. This is one of my favorite characters. I like the humor they add and the fun chaos. Their job is to cut down big egos down to size and bring people down to earth. I liked how there can be a trickster hero, those are always funny.
When reading these it was interesting to see how there were two lines to the characters. One was clear, as “this is what this character does”. The other line was fuzzy and many different archetypes seemed to be strangely familiar. The mentor and the Herald seemed to play very similar roles. This might be why certain characters wear different masks at different times. Over all I liked how with many of the characters he wrote about he related them one way or another to our lives and how by understanding these character we can understand obstacles in our life.
Questions
1) Can these archetypes be a mixture of the different kind ex can you have a anti/trickster hero?
2) Can the shadow be good?
3) By understanding these archetypes is it really possible to deal with problems in you r life better?
4) Are there ever characters in stories that don’t follow any of these arechtypes?
Pledged
Annotated Bibliography
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 49-80.
In this section Volger focuses on the people/archetypes that the hero might encounter. These include the threshold guardian, the herald, the shape shifter, the shadow, and the ally. The threshold guardian is an interesting character, they are the person who stands in the way of the hero from entering a new world. I like how Volger said you are not suppose to defeat them but to incorporate them. In many stories you can see what Volger is talking about when he says there is a symbiotic relationship between villain and threshold guardian. I feel that what the threshold guardian stands for is the hero’s inner demons in physical form.
The Herald I felt was like a mentor with out the guidance. He herald comes in gives the hero a challenge and a kick in the butt to get him started. I liked how Volger said that the Herald doesn’t have to be a person, that it could be a storm or such.
The shape shifter was one of the more difficult characters to understand and felt that it could be stretched among a lot different situations. The nature of the shape shifter according to Volger is to be shifting and unstable. This character appears to be changing constantly from the hero’s point of view. In most stories these characters are witches, wizards and such. He focuses the shape shifting idea more to how girls and guys act and how we think they are suppose to act, such as mood swings.
I found this to be a very hard character to understand. The shadow is used to represent the dark side, the unexpressed, unrealized, or rejected aspects of something. I really liked how he broke down this part of the shadow saying that the shadow “can be all the things we don’t like about ourselves, all the dark secrets we cant admit, even to ourselves.” The important thing that Volger points out is that the Shadow might not be 100% evil and that it can be a good idea to humanize them.
The Ally plays an important role. They are then to provided company guidance help to the hero during the journey. They can act as the heros conscience when the hero is able to use it. I liked how Volger says that a important job of the Ally is to humanize the hero making them more open and balanced. The hero could have one Ally or a thousand.
The last character that Volger talks about is the Trickster. This is one of my favorite characters. I like the humor they add and the fun chaos. Their job is to cut down big egos down to size and bring people down to earth. I liked how there can be a trickster hero, those are always funny.
When reading these it was interesting to see how there were two lines to the characters. One was clear, as “this is what this character does”. The other line was fuzzy and many different archetypes seemed to be strangely familiar. The mentor and the Herald seemed to play very similar roles. This might be why certain characters wear different masks at different times. Over all I liked how with many of the characters he wrote about he related them one way or another to our lives and how by understanding these character we can understand obstacles in our life.
Questions
1) Can these archetypes be a mixture of the different kind ex can you have a anti/trickster hero?
2) Can the shadow be good?
3) By understanding these archetypes is it really possible to deal with problems in you r life better?
4) Are there ever characters in stories that don’t follow any of these arechtypes?
Thursday, September 4, 2008
Cartoon Charater
I would like to think that everyone has seen Tom and Jerry at least once in his or her life. I grew up on this show and I am in love with it. I would be Jerry and the my brother would be Tom.
The basics behind the story is that Tom the cat is always trying to catch and eat Jerry the mouse. In the old, and I consider better, versions there was no talking only music, everything else was conveyed through the characters actions. I have always been close to my brother and I still am. I like to say that we lived what I call a healthy sibling relationship, which for obvious reasons I am going to call the “Tom and Jerry effect”. When ever our parents took their eyes off of us we would be chasing each other and trying to get at eat others throats.
In the cartoon Tom the cat is the one who usually tries to start the conflict, which was what my brother did. Jerry usual tried to keep to himself and mind his own business. When I was younger I liked to daydream and wonder off on my own. My brother would always find me and be waiting around the corner with some evil plot of chaos planned. In the movie the cat would always take things to far and get in trouble, and who was there to help him get out of it, Jerry! That has been true with my brother our whole life. No matter how rough our fights got I was always willing to help him out.
The basics behind the story is that Tom the cat is always trying to catch and eat Jerry the mouse. In the old, and I consider better, versions there was no talking only music, everything else was conveyed through the characters actions. I have always been close to my brother and I still am. I like to say that we lived what I call a healthy sibling relationship, which for obvious reasons I am going to call the “Tom and Jerry effect”. When ever our parents took their eyes off of us we would be chasing each other and trying to get at eat others throats.
In the cartoon Tom the cat is the one who usually tries to start the conflict, which was what my brother did. Jerry usual tried to keep to himself and mind his own business. When I was younger I liked to daydream and wonder off on my own. My brother would always find me and be waiting around the corner with some evil plot of chaos planned. In the movie the cat would always take things to far and get in trouble, and who was there to help him get out of it, Jerry! That has been true with my brother our whole life. No matter how rough our fights got I was always willing to help him out.
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