Friday, October 31, 2008
BELL JAR
Chapters 19 and 20 dealt with Esther's stages of freedom. She looses her virginity, which she feels is her way of maturing and having control of her life. She also looses her friend,but now no longer has to live her life under the shadow of Joan. Joan is who she envies because she is showing progresses in her health and mind set; Esther feels she is failing in life because she is trying to match or be better than Joan.
Thursday, October 30, 2008
Ant 175-194
Leslie Navarrete Analytical and Persuasive Writing 10/31/08
Vogler, Christopher, and Michele Montez. The Writer's Journey: Mythic Structure for Writers. 3rd ed. Boston: Michael Wiese Productions, 2007. 175-194
Summary:
The chapters: Reward and The Road back contains the optimistic and the pessimistic sides of these two stages. Reward pertains to physical and mental gifts a hero is given because he or she defeated death. The reward scene also allows the audience to rest and review the story. The chapter also spoke about the different types of rewards: the celebration, campfire scenes, and love scenes. Both the celebration and the campfire scenes are done to give thanks to the God(s) and the replenish their strength. Also both scenes enable the hero reflect about his journey. The reward a hero gets signifies their accomplishment in their search of their treasure. Also in obtaining their reward the hero can forcefully take it or willingly; either way the hero is applauded for his courage. In retrieving their reward the hero boasts about his victory over the ordeal and is awed because of his success. Yet, this same awe can turn the hero into a hubris character and a power hunger individual.
All is fun and memorable, but sometimes a hero has to go back home. The chapter The Road Back pertains the obstacles and the physiological thoughts of what a hero goes through during this stage. Volger states the physiological fear that a hero has when going back home; the fear to loose his new insight or power. This complies the hero to hesitate and sometimes needs motivation. Two types of motivations are internal and external factors. Either factor helps the hero start his journey back home. The road back is another threshold because obstacles are still in the hero’s journey and sometimes it is the same obstacles the hero confronted previously. In this stage the villain or shadow could arise again, which recaptures the audiences attention and spurts the climax in the script. The road back is also a situation that the hero could to his magical reward or gift given by his mentor. The road back can also be set backs that forces a hero return home and prepare again. Whatever situation the road back home is mandatory in a script because it helps set up the so what in a story and allows the audience to distinguish the hero’s world and new personality.
Reaction:
The chapter on the hero’s rewards was very interesting. I never considered a campfire and sultal places as a reward. I thought of these two places as approach to the inmost cave because the campfire and sutial places are where a hero rests and is able to place his next move. In the reward chapter I learned more about the definition of a sacred marriage and how it is part of a reward. This statement made me think about how in movies the love scene is done after the hero has confronted death. I loved how in the chapter states that the rewards are one of reasons why heroes go on the journeys. Towards the end of the chapter it touches how rewards also contribute to evilness and can make a hero power hunger. I believe that an individual can relate that to real life. Instead our rewards are titles and money; they are what transform us to amoral human beings.
The chapter: The Road Back can also be related to our lives. Some of escape our ordinary World because we feel as if we have been exiled from it or just want a new being. Either reason we have to go home sooner or later and that tends to be difficult. The ordinary World is scary because it knows our faults and we feel as if it oppresses us at times. The Special World enables to create a different persona and try out different roles because this world does not know us. Like Volger states there is nothing like home because it is comfort and it is what we know.
Overall, I really enjoyed these two chapters because they allowed me to explore my own life and what I consider entertainment. I gain a lot of knowledge when I read Volger at times, but it is more that I can relate it to my own journey.
Questions:
1.What is one reward that you remember receiving during your own journey?
2.In your opinion what is more difficult, the call to adventure or the road back home? And why?
3.In your hero’s journey do you seem to always have to fight the same villain or shadow again?
From all the types of rewards that a hero receives, which is common in your journey?
Vogler, Christopher, and Michele Montez. The Writer's Journey: Mythic Structure for Writers. 3rd ed. Boston: Michael Wiese Productions, 2007. 175-194
Summary:
The chapters: Reward and The Road back contains the optimistic and the pessimistic sides of these two stages. Reward pertains to physical and mental gifts a hero is given because he or she defeated death. The reward scene also allows the audience to rest and review the story. The chapter also spoke about the different types of rewards: the celebration, campfire scenes, and love scenes. Both the celebration and the campfire scenes are done to give thanks to the God(s) and the replenish their strength. Also both scenes enable the hero reflect about his journey. The reward a hero gets signifies their accomplishment in their search of their treasure. Also in obtaining their reward the hero can forcefully take it or willingly; either way the hero is applauded for his courage. In retrieving their reward the hero boasts about his victory over the ordeal and is awed because of his success. Yet, this same awe can turn the hero into a hubris character and a power hunger individual.
All is fun and memorable, but sometimes a hero has to go back home. The chapter The Road Back pertains the obstacles and the physiological thoughts of what a hero goes through during this stage. Volger states the physiological fear that a hero has when going back home; the fear to loose his new insight or power. This complies the hero to hesitate and sometimes needs motivation. Two types of motivations are internal and external factors. Either factor helps the hero start his journey back home. The road back is another threshold because obstacles are still in the hero’s journey and sometimes it is the same obstacles the hero confronted previously. In this stage the villain or shadow could arise again, which recaptures the audiences attention and spurts the climax in the script. The road back is also a situation that the hero could to his magical reward or gift given by his mentor. The road back can also be set backs that forces a hero return home and prepare again. Whatever situation the road back home is mandatory in a script because it helps set up the so what in a story and allows the audience to distinguish the hero’s world and new personality.
Reaction:
The chapter on the hero’s rewards was very interesting. I never considered a campfire and sultal places as a reward. I thought of these two places as approach to the inmost cave because the campfire and sutial places are where a hero rests and is able to place his next move. In the reward chapter I learned more about the definition of a sacred marriage and how it is part of a reward. This statement made me think about how in movies the love scene is done after the hero has confronted death. I loved how in the chapter states that the rewards are one of reasons why heroes go on the journeys. Towards the end of the chapter it touches how rewards also contribute to evilness and can make a hero power hunger. I believe that an individual can relate that to real life. Instead our rewards are titles and money; they are what transform us to amoral human beings.
The chapter: The Road Back can also be related to our lives. Some of escape our ordinary World because we feel as if we have been exiled from it or just want a new being. Either reason we have to go home sooner or later and that tends to be difficult. The ordinary World is scary because it knows our faults and we feel as if it oppresses us at times. The Special World enables to create a different persona and try out different roles because this world does not know us. Like Volger states there is nothing like home because it is comfort and it is what we know.
Overall, I really enjoyed these two chapters because they allowed me to explore my own life and what I consider entertainment. I gain a lot of knowledge when I read Volger at times, but it is more that I can relate it to my own journey.
Questions:
1.What is one reward that you remember receiving during your own journey?
2.In your opinion what is more difficult, the call to adventure or the road back home? And why?
3.In your hero’s journey do you seem to always have to fight the same villain or shadow again?
From all the types of rewards that a hero receives, which is common in your journey?
Thursday, October 23, 2008
Weakness and Strengths
One Strength in my Outline: I know a lot about my research
One weakness in my Outline: My information needs to be scholarly!
One weakness in my Outline: My information needs to be scholarly!
Monday, October 20, 2008
Ant 143-173 Leslie
Leslie Navarrete Analytical and Persuasive Writing 1020/08
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. 3rd ed. Boston: Michael Wiese Productions, 2007. 143-173
Summary:
In these two chapters the reader was exposed to two stages: The Approach to the Inmost Cave and The Ordeal. The first chapter, The Approach to the Inmost Cave is considered the middle of the journey. In this stage a hero is able
to prepare for his or her battle in the ordeal. The hero can contemplate or armor up against his or her foe. At times this particular stage is not a relaxing moment, but a bold moment where the hero already to confront the great ordeal without needing preparation! When the hero continues his or her journey he or she persists to face obstacles that are more tedious and life threatening. Some of the obstacles that are evident in approach the inmost cave are: illusions, threshold guardians, the Sherman’s territory, and life-death tests.
Though some of the obstacles were once present in pervious stages the tests are more lethal and now challenge the hero’s new and improved skills. All these trails revolve around gambling of the hero’s life. Volger states that the death situation is pivotal in a script because it brings the dramatic complications, which are emotional distresses set backs that challenge the hero’s willingness to succeed. When putting the death situation in a script is also allows the purpose of the journey to rise again, how dangerous the journey is ,and satisfies the death quench that audiences yearn for. For the reason that this stage is from of dramatic action and hostilness this gives the opportunity for a group member to become a leader. In this scene the audience with be exposes to the different archetypes that characters can transform themselves to even the hero. Yet, the main purpose is illuminated and it because everyone’s goal!
Now that everyone has one mind set and everyone is prepared for the battle; the encounter of the ordeal appears. The ordeal is stated as the deepest chamber ,but not the ending of the script or the climax. The ordeal sets the stage for the true climax so the position on where the ordeal is put is important. Volger advised to put the ordeal in the middle of the acts or at the end of Act 2. The decision gives the writer more time to elaborate on he crisis , the setting , and allow another turning point. To delay the ordeal is said to build a great suspense making a greater effect on the audience! The ordeal is defined as a crisis with a purpose to bring death and rebirth to the hero. There is where the hero faces his worse enemy; his or her own shadows aka demons.
The ordeal is basically the problems that everyone faces in day to day bases, but instead are all correlating into one big force! The need of balance between animus and anima are important to reach and that is what the ordeal. One the balance is reached it is considered a sacred marriage between your inner forces and that is what helps a hero succeed. The crisis all vary from love and higher authority; in a script it is comes done to leaving the audience dumbfounded and satisfying their quench for death. The witness is pivotal in the death scenes because they represent the audience and emphasizes the emotions of horror, despair, and relief.
It is the approach to the inmost cave and the ordeal that build you movie and that marks your journey and one can over come these two stages everything will come in time.
Reaction:
I felt like I could really compare these two chapters to my own journey. My present situation in college I feel that I can not reach the inmost cave because I just jump to the ordeal! I have no time to rest or mediate on how to succeed in the college world or even time to self sooth myself. The ordeal is the exams and the work itself. I just go into the ordeal ready and if I feel as if I am getting weak I rest enough to just finish that particular task. The ordeal really touched me and how it is truly a crisis not the ending or climax point. It is when everything that could go wrong does and now you or your group have to find some way to survive. Unlike the movies, the hero can die in reality. The hero could die physically or mentally and to be restored takes longer than in movies.
Life is almost like a movie, but unpredictable and prolonged! One thing that movies and life have in common is the fear of high authority. I think it is the most enormous fear that a hero must confront if he or she gains the courage to and if so let see if they surpass that ordeal! I know that my mother is my greatest ordeal and more of her approval of my decisions. The fear of rejection or disappointment dinguses me and it actually my fuel to succeed in life. I run away from what I believe I am not capable to succeed in and stick to what I know. The ordeal made a huge impact to me as I was reading it and helped me actually organize my current status!
Questions:
1. Through your hero’s journey was there is there a moment that you have been stuck when approaching the inmost cave. If so can you tell your experience. If you been able to succeed what advise who you give to your peer(s)?
2. What is common crisis that you tend to have when trying to complete your journey?
3. Demons and shadows will forever exist ; for you what is the way to confront them or do you avoid them?
4. Compare the Ordeal chapter to your life or even today society. What you views in correlation to these two matters?
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. 3rd ed. Boston: Michael Wiese Productions, 2007. 143-173
Summary:
In these two chapters the reader was exposed to two stages: The Approach to the Inmost Cave and The Ordeal. The first chapter, The Approach to the Inmost Cave is considered the middle of the journey. In this stage a hero is able
to prepare for his or her battle in the ordeal. The hero can contemplate or armor up against his or her foe. At times this particular stage is not a relaxing moment, but a bold moment where the hero already to confront the great ordeal without needing preparation! When the hero continues his or her journey he or she persists to face obstacles that are more tedious and life threatening. Some of the obstacles that are evident in approach the inmost cave are: illusions, threshold guardians, the Sherman’s territory, and life-death tests.Though some of the obstacles were once present in pervious stages the tests are more lethal and now challenge the hero’s new and improved skills. All these trails revolve around gambling of the hero’s life. Volger states that the death situation is pivotal in a script because it brings the dramatic complications, which are emotional distresses set backs that challenge the hero’s willingness to succeed. When putting the death situation in a script is also allows the purpose of the journey to rise again, how dangerous the journey is ,and satisfies the death quench that audiences yearn for. For the reason that this stage is from of dramatic action and hostilness this gives the opportunity for a group member to become a leader. In this scene the audience with be exposes to the different archetypes that characters can transform themselves to even the hero. Yet, the main purpose is illuminated and it because everyone’s goal!
Now that everyone has one mind set and everyone is prepared for the battle; the encounter of the ordeal appears. The ordeal is stated as the deepest chamber ,but not the ending of the script or the climax. The ordeal sets the stage for the true climax so the position on where the ordeal is put is important. Volger advised to put the ordeal in the middle of the acts or at the end of Act 2. The decision gives the writer more time to elaborate on he crisis , the setting , and allow another turning point. To delay the ordeal is said to build a great suspense making a greater effect on the audience! The ordeal is defined as a crisis with a purpose to bring death and rebirth to the hero. There is where the hero faces his worse enemy; his or her own shadows aka demons.
The ordeal is basically the problems that everyone faces in day to day bases, but instead are all correlating into one big force! The need of balance between animus and anima are important to reach and that is what the ordeal. One the balance is reached it is considered a sacred marriage between your inner forces and that is what helps a hero succeed. The crisis all vary from love and higher authority; in a script it is comes done to leaving the audience dumbfounded and satisfying their quench for death. The witness is pivotal in the death scenes because they represent the audience and emphasizes the emotions of horror, despair, and relief.
It is the approach to the inmost cave and the ordeal that build you movie and that marks your journey and one can over come these two stages everything will come in time.
Reaction:
I felt like I could really compare these two chapters to my own journey. My present situation in college I feel that I can not reach the inmost cave because I just jump to the ordeal! I have no time to rest or mediate on how to succeed in the college world or even time to self sooth myself. The ordeal is the exams and the work itself. I just go into the ordeal ready and if I feel as if I am getting weak I rest enough to just finish that particular task. The ordeal really touched me and how it is truly a crisis not the ending or climax point. It is when everything that could go wrong does and now you or your group have to find some way to survive. Unlike the movies, the hero can die in reality. The hero could die physically or mentally and to be restored takes longer than in movies.
Life is almost like a movie, but unpredictable and prolonged! One thing that movies and life have in common is the fear of high authority. I think it is the most enormous fear that a hero must confront if he or she gains the courage to and if so let see if they surpass that ordeal! I know that my mother is my greatest ordeal and more of her approval of my decisions. The fear of rejection or disappointment dinguses me and it actually my fuel to succeed in life. I run away from what I believe I am not capable to succeed in and stick to what I know. The ordeal made a huge impact to me as I was reading it and helped me actually organize my current status!
Questions:
1. Through your hero’s journey was there is there a moment that you have been stuck when approaching the inmost cave. If so can you tell your experience. If you been able to succeed what advise who you give to your peer(s)?
2. What is common crisis that you tend to have when trying to complete your journey?
3. Demons and shadows will forever exist ; for you what is the way to confront them or do you avoid them?
4. Compare the Ordeal chapter to your life or even today society. What you views in correlation to these two matters?
Tuesday, October 14, 2008
Ant 127-141
Leslie Navarrete Analytical and Persuasive Writing 10/13/08
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. 3rd ed. Boston: Michael Wiese Productions, 2007. 127-141
Summary:
In these two chapters the reader was exposed to two stages: The Crossing of the Threshold and Tests, Allies, Enemies. The Crossing of the Threshold signifys the hero finally commiting to the call to adventure; the hero commits because of an external factor(s). The external factors are what complys the hero to take action and is the turning point of the story. Sometimes the external factors does not give the hero an ultamatium and the hero now must cross the threshold unprepared. Another factor that accompanies the external factor is the internal factor. Internal factor(s) pertains the self conscious of the hero and the self evaluation of the hero’s life style.
The hero might want to complete his or her adventure because it is an oppurunity to reform his or her life style. Yet, the internal factor is not strong enough to comply a hero to cross the threshold like the external; they must combine in order for the hero to fully commit to the journey. When the hero crosses the threshold there wll be some physical barrier signifying the enterance of the new world and the exist of the ordinary world. This barrier might be an actually gate or body of waters. Whatever the barrier maybe between the two worlds the hero takes the “leap of faith”. The leap of faith symbolizes the hero’s courage to conquer his or her fear of the unkown,but also is the beinning of the tests.
When the hero decides to enter the Special World he or she will confront a threshold guardian, which is like a body guard to the greater ordeal. The threshold gaudrian(s) are very pivotal archtypes and help train the hero for the greater tests that he or she will face within his or her adventure. A hero will confront this archtype in unexpected moments and may at the end gain an ally as well. When the hero enters the special world the word contains a different atmosphere, a different feeling, and a different type of guideline. The hero is advised in the script to enter into a “water holes”, which are places that contain information on the world and the world’s rules. The water holes are social bars or gatherings that town people are located at; it is also a place for the hero to rest.
Now the hero must confront his fears and with that the tests arrive into the picture. The tests prepare him or her for the main battle and help him or her envolve from a novist to an expert. The first tests that the hero confronts are expressed as the enterance exams. Then in the beginning of Act 2 the tests are not life threating like later events; they are meant to sharpen the hero’s weak areas. The tests can also be the continuation of mentor training or can assist creating the Special world. Either way tests are meant to help the hero for unexpected events.
Tests continue throughout the hero’s adventure and in finding allies is considered challenging the hero’s good judgement. Allies are helpers of the new world or ordinary world and eventually turn into sidekicks. The sidekicks can come in multiples creating a team of justice. The allies are there to support the hero in anyway and to bring maturity into the hero’s life.
The crossing of the threshold is also a test because it challenges the hero’s strength and courage. Tests are everywhere and happen everyday,but prepares for the finals in our life!
Reaction:
I believe the statement the Volger states about how there must always be an external factor or factors that complys a hero to be fully committed to the advanture. That factor has to be a dilemma concerning pride or the hero’s intimate relationship; It can be both situations. The internal factor just does not enlight the flame it can be the hero’s foundation or additional reason,but it is just does not give the hero the drive to succeed and a reason to risk his or her life. I also like the mentioning on how enemies can actually in reality become a hero’s ally and help the hero with his or her journey. In addition the tests that a hero goes through really does prepare a hero for the greater ordeal and helps develop the areas of improvement. It can be related to real life; how our turbluances and pains have helped us overcome obstacles.Allowing us to become mentors to whom ever is going through that particular journey or stage.
Questions:
1. Do you believe that enemies are actually your allies why or why not?
2. What do you think is a rival’s purpose and has he or she helped you mature?
3. Can your blood or best friend be your rival and still be your ally?
4. What are the purposes on tests and what do you think happens if we fail the tests in life; what will be the outcome?
5. Do you believe your tests have made you into a stronger person or has oppressed from life?
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. 3rd ed. Boston: Michael Wiese Productions, 2007. 127-141
Summary:
In these two chapters the reader was exposed to two stages: The Crossing of the Threshold and Tests, Allies, Enemies. The Crossing of the Threshold signifys the hero finally commiting to the call to adventure; the hero commits because of an external factor(s). The external factors are what complys the hero to take action and is the turning point of the story. Sometimes the external factors does not give the hero an ultamatium and the hero now must cross the threshold unprepared. Another factor that accompanies the external factor is the internal factor. Internal factor(s) pertains the self conscious of the hero and the self evaluation of the hero’s life style.
The hero might want to complete his or her adventure because it is an oppurunity to reform his or her life style. Yet, the internal factor is not strong enough to comply a hero to cross the threshold like the external; they must combine in order for the hero to fully commit to the journey. When the hero crosses the threshold there wll be some physical barrier signifying the enterance of the new world and the exist of the ordinary world. This barrier might be an actually gate or body of waters. Whatever the barrier maybe between the two worlds the hero takes the “leap of faith”. The leap of faith symbolizes the hero’s courage to conquer his or her fear of the unkown,but also is the beinning of the tests.
When the hero decides to enter the Special World he or she will confront a threshold guardian, which is like a body guard to the greater ordeal. The threshold gaudrian(s) are very pivotal archtypes and help train the hero for the greater tests that he or she will face within his or her adventure. A hero will confront this archtype in unexpected moments and may at the end gain an ally as well. When the hero enters the special world the word contains a different atmosphere, a different feeling, and a different type of guideline. The hero is advised in the script to enter into a “water holes”, which are places that contain information on the world and the world’s rules. The water holes are social bars or gatherings that town people are located at; it is also a place for the hero to rest.
Now the hero must confront his fears and with that the tests arrive into the picture. The tests prepare him or her for the main battle and help him or her envolve from a novist to an expert. The first tests that the hero confronts are expressed as the enterance exams. Then in the beginning of Act 2 the tests are not life threating like later events; they are meant to sharpen the hero’s weak areas. The tests can also be the continuation of mentor training or can assist creating the Special world. Either way tests are meant to help the hero for unexpected events.
Tests continue throughout the hero’s adventure and in finding allies is considered challenging the hero’s good judgement. Allies are helpers of the new world or ordinary world and eventually turn into sidekicks. The sidekicks can come in multiples creating a team of justice. The allies are there to support the hero in anyway and to bring maturity into the hero’s life.
The crossing of the threshold is also a test because it challenges the hero’s strength and courage. Tests are everywhere and happen everyday,but prepares for the finals in our life!
Reaction:
I believe the statement the Volger states about how there must always be an external factor or factors that complys a hero to be fully committed to the advanture. That factor has to be a dilemma concerning pride or the hero’s intimate relationship; It can be both situations. The internal factor just does not enlight the flame it can be the hero’s foundation or additional reason,but it is just does not give the hero the drive to succeed and a reason to risk his or her life. I also like the mentioning on how enemies can actually in reality become a hero’s ally and help the hero with his or her journey. In addition the tests that a hero goes through really does prepare a hero for the greater ordeal and helps develop the areas of improvement. It can be related to real life; how our turbluances and pains have helped us overcome obstacles.Allowing us to become mentors to whom ever is going through that particular journey or stage.
Questions:
1. Do you believe that enemies are actually your allies why or why not?
2. What do you think is a rival’s purpose and has he or she helped you mature?
3. Can your blood or best friend be your rival and still be your ally?
4. What are the purposes on tests and what do you think happens if we fail the tests in life; what will be the outcome?
5. Do you believe your tests have made you into a stronger person or has oppressed from life?
Tuesday, October 7, 2008
Ant. for chapter 13-14!
Leslie Navarrete Analytical and Persuasive Writing 10/05/08
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. 3rd ed. Boston: Michael Wiese Productions, 2007. 107-125
Summary:
In these two chapters the reader was exposed to two stages: The Refusal of the Call and Meeting the Mentor. Volger states that in the refusal of call stage is where the hero is analyzing the consequences of accepting the adventure. He explains that accepting the adventure is a life gamble because it is an unknown environment that the hero is walking into. Volger also states that there are different forms of refusing the call to adventure , that it does not necessarily have to be a “no”. A hero can hesitate his or her acceptance ,which is a humanly characteristic. Another form is that a hero quickly accepts the challenge, but intimate people attempt to discourage the hero from taking the journey. Either form the call to adventure is being prolonged and the story is not continuing.
Like in life the refusal of call comes in multiples meaning; the hero is complied to make a decision between to adventures and must find out what is his or her priority, as well help the public good. Yet, at times saying no is the correct choice because the adventure might be life threatening and the hero’s odds of prevailing are too slim. Then sometimes is a good idea to prolong the call to adventure in order for the hero to receive advise or just a second opinion from his or her mentor. The mentor plays a pivotal part in the hero’s journey. The mentor is the hero’s aid : the mentor provides confidence, teachings, lessons and knowledge. Frequently, the mentor himself has completed the journey that the hero will be adventuring. The mentor is needed in every story because he or she is the catalyst of a script and holds the secret s of success.
Reaction:
I gained a lot of knowledge when I was reading the refusal of the call . I was never aware on how just hesitating was considered refusing the call or that external factors are considered refusing the call. I agree a lot with Volger and what he states is the mentor’s purpose in a hero’s life. A mentor is basically a hero’s refugee and gives the hero the secret of success. The mentor is someone the hero fully trusts and if the mentor has evil intensions the hero can become a villain instead. The mentor chapter opened my eyes and complied me to think about my own life . Who is my mentor and am I here because of her or him? Only time will say all I know is that I have found my identity because of my mentor and my self.
Questions:
1. What do you think it is when accept the call to adventure ,but there are obstacles that interfer you from going on the journey and can you name a time that you have been in this type of situation?
2. Do you believe that your mentor is truly you conscious in carnal form?
3. Who is you mentor in your memoir?
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. 3rd ed. Boston: Michael Wiese Productions, 2007. 107-125
Summary:
In these two chapters the reader was exposed to two stages: The Refusal of the Call and Meeting the Mentor. Volger states that in the refusal of call stage is where the hero is analyzing the consequences of accepting the adventure. He explains that accepting the adventure is a life gamble because it is an unknown environment that the hero is walking into. Volger also states that there are different forms of refusing the call to adventure , that it does not necessarily have to be a “no”. A hero can hesitate his or her acceptance ,which is a humanly characteristic. Another form is that a hero quickly accepts the challenge, but intimate people attempt to discourage the hero from taking the journey. Either form the call to adventure is being prolonged and the story is not continuing.
Like in life the refusal of call comes in multiples meaning; the hero is complied to make a decision between to adventures and must find out what is his or her priority, as well help the public good. Yet, at times saying no is the correct choice because the adventure might be life threatening and the hero’s odds of prevailing are too slim. Then sometimes is a good idea to prolong the call to adventure in order for the hero to receive advise or just a second opinion from his or her mentor. The mentor plays a pivotal part in the hero’s journey. The mentor is the hero’s aid : the mentor provides confidence, teachings, lessons and knowledge. Frequently, the mentor himself has completed the journey that the hero will be adventuring. The mentor is needed in every story because he or she is the catalyst of a script and holds the secret s of success.
Reaction:
I gained a lot of knowledge when I was reading the refusal of the call . I was never aware on how just hesitating was considered refusing the call or that external factors are considered refusing the call. I agree a lot with Volger and what he states is the mentor’s purpose in a hero’s life. A mentor is basically a hero’s refugee and gives the hero the secret of success. The mentor is someone the hero fully trusts and if the mentor has evil intensions the hero can become a villain instead. The mentor chapter opened my eyes and complied me to think about my own life . Who is my mentor and am I here because of her or him? Only time will say all I know is that I have found my identity because of my mentor and my self.
Questions:
1. What do you think it is when accept the call to adventure ,but there are obstacles that interfer you from going on the journey and can you name a time that you have been in this type of situation?
2. Do you believe that your mentor is truly you conscious in carnal form?
3. Who is you mentor in your memoir?
Friday, October 3, 2008
The three steps
3 steps of revising:
1. I read my paper out loud so I am able to hear the stucture of my sentences.
2. Whatever sounds odd to my ears I go back and resay it and if it continues to sound odd, I rephrase the sentence or word.
3. I finally, after correcting the flow basically of my paper, I read it out loud again.
3 steps of Editing:
1. I read the sentences very carefully and see if the commas have a fan boy and if not I put a footnote on the sentence because there is a reason why I did that puncation mark.
2. I also look for semi-c's too and make sure I am using them properly.
3. I go over the paper again!
1. I read my paper out loud so I am able to hear the stucture of my sentences.
2. Whatever sounds odd to my ears I go back and resay it and if it continues to sound odd, I rephrase the sentence or word.
3. I finally, after correcting the flow basically of my paper, I read it out loud again.
3 steps of Editing:
1. I read the sentences very carefully and see if the commas have a fan boy and if not I put a footnote on the sentence because there is a reason why I did that puncation mark.
2. I also look for semi-c's too and make sure I am using them properly.
3. I go over the paper again!
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