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
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