ann. bib. 4

Vogler, Christopher. “The Ordinary World“, “The Call to Adventure”. The Writer's Journey : Mythic Structure for Writers Third Edition. Studio City, CA: Michael Wiese Productions, 2007.

Summary
Volger elaborated on the concept of an “ordinary world“. He reiterated a few of the concepts including that it takes place at the beginning of the stories and that it’s function is to provide a comparison between the ordinary world and the special world, so the audience can better understand the hero’s reaction to the special world. He talks about how the mood of the story is set up ahead of the time through the choice of title and illustrations, as well as the opening lines in a story. He also goes on to explain the use of a prologue. It can be used to give a backstory or help explain the situation occurring at the beginning of the story. It is important to make a large difference between the ordinary world and the special world. The ordinary world can be used to foreshadow other occurrences later in the book. The ordinary world is also a place that people get an understanding of the hero’s problems, both internal and external. Volger emphasizes the importance of the first impression of the hero. The ordinary world is also a good place to introduce the theme.
Vogler does the same thing with “the call to adventure” that he did to the “ordinary world”. The forms are restated including the fact that a person or an inanimate object could bring about the call. The hero could also be called by a string of incidences that make it clear action is needed. The hero could also be called to adventure by using temptation. The messenger who usually calls the hero to adventure takes the archetype of the hero. Vogler also makes it clear that a hero may be unaware at the time of the call that something in their ordinary world is in need of change. He also states that their could be multiple calls to adventure within a single story, and they do not always have to be good.

Reaction
I like the fact that he explains more about the ordinary world, pointing out more of the aspects. I never really put that much thought into the different stages before, and it’s interesting to know more about them to recognize their use in stories. I disagree with his statement that the ordinary world is used at the beginning of a story, though. I’ve seen it presented in different parts of a storyline and broken up throughout a story, and it has been effective. I think it can make a story more interesting if we don’t know everything about the character at once.

Questions
1)Can a story be effective without an ordinary world?
2)Can you name a hero who has been called to adventure by temptation?
3)Do you think that the title of a story helps to set the mood?

Ethos, Pathos, and Logos

Logos:

"It's Alright, Ma (I'm Only Bleeding)"-Bob Dylan

Ethos:

"The Lonesome Death of Hattie Carrol"-Bob Dylan

Pathos:

"Masters of War"-Bob Dylan

annotated bibliography #3

Vogler, Christopher. “Threshold Guardian,” “Herald,” “Shapeshifter,” “Shadow,” “Ally,” “Trickster” The Writer's Journey : Mythic Structure for Writers Third Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary
Vogler continues to talk about the different archetypes, introducing six new ones: the threshold guardian, the herald, the shapeshifter, the shadow, the trickster, and the ally. The threshold guardian is usually present at the entrance to each of the hero’s new worlds. They are usually not the main villain in the story, playing the part of a helper to the main antagonist, secret helper, or a neutral figure instead. The primary function of the threshold guardian in a story is to test the hero, and there challenge should be considered a lesson by the hero. The ways a hero can defeat the threshold guardians are: attacking them, running away from them, deceiving them, bribing them, or making them into an ally. The part of the herald is usually introduced in the beginning of the story, challenging the hero to take up an adventure. The herald can be a neutral, negative or positive part in a story, and it does not have to be a character; it can be something as simple as a phone call.
The shapeshifter archetype of one that changes appearance or mood and presents a challenge to the hero when it comes to determining their loyalty. The function of this archetype is to introduce suspicion and doubt into the storyline. Any character of the story can be a shapeshifter, and this archetype of a common way for a hero to get past a threshold guardian. This archetype is most commonly used in male-female relationship stories. The shadow is the dark or evil aspect of the story, most commonly expressed through the roles of a villain or antagonist of the hero. The villain of a story is a character who wants to kill the hero, and the antagonist is not always as hostile towards the hero. The archetype of the shadow can be expressed through the role of a single character or multiple characters throughout a story, including the hero. It is best when a shadow is not completely evil, a way to humanize them is to give them vulnerabilities. This archetype can be both internal or external. In most stories the characters that portray this archetype do not consider themselves the villain. The ally is the archetype that helps the hero during the course of the journey. They commonly do mundane tasks for the hero, but provide a source of comic relief, a way to humanize the hero, and ways to explain aspects of the story to the audience. The ally does not always have to be human, it can be a variety of things including an animal or a spirit. The main functions of a trickster in a story are comic relief and to cut down egos and make people look realistically at what is going on. The trickster can be a variety of different characters in the story and they don’t have to be good. This archetype usually is found in catalyst characters. This is another archetype that a hero can use to get around a threshold guardian. All of the archetypes help to add dimension to the characters in the stories.
Reaction
I find the connections Vogler makes between the archetypes and the psychological apsects really interesting. It kind of makes you look at it in a different perspective. I also like the fact that these aceetypes are do not follow a strict set of guidelines within a story; the fact that they can take on so many faces is what allows them to blend into the different stories. It is interesting to look at the different stories and be able to identify what the characters are without it being blatantly obvious while you read them.
Questions
1) Who are some popular shapeshifters?
2) Does a story need to have all of these archetypes?
3) Are there any villains you have felt sympathy towards?

What Disney Character am I?

Like most children, I grew up watching Disney. My sister and I would even memorize the lines of our favorite movies and act them out; I’ve been Simba, Timone, Speed, and numerous other Disney characters. If I had to choose what character I’d be today, though, I would have to be Tramp from Lady and the Tramp.
Tramp loved adventure; he loved the freedom of living out on the streets and not having to answer to anybody. Like Tramp, I enjoy being independent. I love to travel and do not like the thought of being tied down. Unlike the other dogs in the movie, tramp did not blindly follow and adore everyone he met. He realizes that people are not perfect and that they are not all the same and places his trust in them accordingly. This is obviously the correct way to go about it. Another aspect we share is we are both loyal and will do almost anything for our families. Plus, neither of us need a life of luxary to be happy. We are satisfied and entertained by the little things.