bell jar

1. Love Hurts

2. A theme of confusion, and not knowing what is really going on.

3. Woman treated as Other

The Second Sex by Simone de Beauvoir

This is an annotation that strides away from the Vogler Reading, and is based on Simone de Beauviors Introduction :Woman as Other to The Second Sex. De Beauvior gives a historical account of the position (or lack there of) of women in society throughout time, and how they had to fight for what they had or were all given what they got. De Beauvior does a good job of alienating the subculture of 'feminism' from mainstream society, constantly classifying themselves with the 'negroes' and "jews". She continues to ask questions about what is a women, and i think this is very intriguing to the reader. it keeps you holding on til the introduction is over, kind of hoping that with all her questions she will have an answer.
I really enjoyed this reading because as a sociologu major i have done some work on women being oppressed by men, and what the definition of a woman is. For an independent study last year i spend the summer compiling over 700 magazine ads either depicting men or women, and how they were placed to determined what ideas of masculinity and feminity are being presented to society. My work concluded what i expected, that women assume a subordinate role in the majority of magazine advertisements depicting both sexes, and that in ads only depicting women, they were constantly in reclining positions (such as lying on the bed) things that men are rarely if ever shown doing. based on the writing and the terms 'negroes' and 'jews' i am going to make the assumption that it was written a while back.
i liked this introduction, but i found it to be somewhat confusing at times and seemingly repetetive. Maybe it is only because i have dealt with the subject of injustice much before, but i just felt like the same thing was getting said over and over again. i am not sure if i would classify woman as other though.

Vogler Response

Vogler uses the next two chapters to identify the "approach to the Inmost Cave" and "the ordeal". Its described as a mysterious zone that is inhabited by threshold guardians that will be testing the hero. It is fair to say that a great deal of the story's excitement will center around the approach to the inmost cave based on the level f excitement. Vogler makes a very nice metaphor comparinf this approach to a mountaineer who is about to make his final approach on the hardest part of the mountain. Basically if the hero has been training or learning anything, this is their opportunity to put it to the test. The next chapter is just as important and linked with the prior one because this chapter deals solely with the ordeal. The ordeal is what is going on inside that inmost cave. Vogler describes the ordeal as a dramtic movement, where in many cases the hero must die, and will be magically reborn, i like the example of ET for this one. Vogler talks also about the placement of the ordeal, and stipulates that it is closer to the middle of the story, like the crisis instead of the climax. It is unfair to say however that the hero must die in this instances, because they can also just as easily bear witness to death to have the same ramifications.
I like what Vogler does in this book by illustrating everything out point for point. I find it so much easier to read when he illuminates everything in a sequential order making it easier for me to put it together in my head, mixed with the fact that he primarily uses examples from movies that i grew up on. In the chapter approach to the inmost cave, Vogler makes a lengthy comparison to the Wizard of Oz, perfectly matching it to the structure he had formulated. And in the ordeal vogler references several star wars scense to illuminate other points he had to make.
I think this book is good because it helps us explore the layout of a story, specifically following the archetypes of the hero's journey. The approach to the inmost cave and the ordeal are important facets to the hero's jounrey, it is in these instances that excite both terror and excitement. Vogler illuminates that this is where the hero must prove something, or where the story is about to get juicy.

Vogler Response # 6

In these brief chapters, Vogler discusses two important facets to the hero's journey; crossing the first threshold and tests,allies and enemies. Through his writing he contends that these are integral parts for the story, and can be found in all of the classics and current movies. Crossing the first threshold is where the hero becomes fully committed to the journey. It has to be triggered by some event that is important enough to launch the hero into action. Vogler say's that the hero needs a special kind of courage, requiring them to take a "leap of faith". He uses the example of jumping out of an airplane just to illustrate the point that once you do it there is no going back. Vogler also kinds allies and enemies useful in a story, because they are interesting people that the protagonist will meet making the story richer.
I find it kind of interesting that the hero's journey would not be a journey without the crossing of the first threshold, because if our hero never does that, then there is no story. We put so much faith into the fact that the hero will actually set the story in motion, and i think this is what distinguishes him as a hero, because he crosses this rarely crossed threshold. Just like in life allies have the potential to become enemies and vice-versas and these are all different types of tests that we encounter along the way. Voglers writing has taught us to accept these classic archetypes in the story, and the way he writes almost reiterates every point he has made up to this point.
I think i am finally coming to realize which movies Vogler has worked for over the years, only based on the assumption its the movies he is constantly referring to with the exception of the wizard of oz and star wars. (beverily hills cop for example). Voglers writing makes it very easy to understand these concepts. By going through each integral piece step by step with the reader, it is clear that there is a formal structure to hero writing.

how does one change from allies to enemies?
what is voglers connection to moives today?
is crossing the first threshold the call to action /. which comes first

Vogler response #5

In this section Vogler talks about two important elements to the Hero's journey, The refusal of the call to adventure and meeting with the mentor. The refusal to the call is the usually the first initial response, and they some how overcome it. Its the questioning of whether i really need to do this, and Vogler states that all heroes, classic and new will at one time or another refuse the call, i was even a little surprised at his Jesus reference. Vogler says the ways in overcoming this fear is the stakes have to anted up for who ever is in question, and only after that will there be some connection to help. Meeting with the mentor is another necessary stage in the process of the journey, serving as a source of wisdom. Vogler states at other times though the mentor can prevent problems for the hero, and that the mentor no longer fits the stereotype of an old wise man, but can appear in all types of shapes.
Vogler makes the point that refusing the call to adventure is usually viewed in a negative perspective, but there are times where there is a positive refusal, and i have some trouble grasping that idea. I liked the short passage about the secret door, because it is just a temptation that all the heroes experience, and they usually end up opening the door. Any time u see a button that says do not press or a door that says stay out, it is our intrinsic curiousity that prevails and forces us to turn that door handle, into an abyss we know not of. It was interesting to read about some of the different hero-mentor relationships, especially in the cases where the mentor turns out to be bad, and doublecrosses our hero.
With future writings, i would like to steer clear of the conventional stereotypes that usually accompany archetypes. If i could go back to writing piece, i would turn everything upside down on its head. Vogler makes a strong argument throughout these two short chapters, and he clearly illustrates why he thinks these are so important steps to the hero's journey. I had alittle trouble following the wizard of oz references just because i cant remember who professor marvel is for the life of me.

does the mentor being a villian appear more in movies or books?
is the hero still as much a hero if they refuse the call and are only motivted out of their own self-interests?
name one secret door from a current movie

Vogler Response # 4

Book II from Vogler is introduced with a chapter on "The Ordinary World" followed by a brief chapter about the "The call to Adventure". It is important to start with a good title, because Vogler says that this sets the mood. When i write stories i like to start off with a powerful image that is lasting in the minds of my readers, Vogler admits that this is a powerful writing mechanism and should be implored to start your story off on the right foot. But what do we get away from the story or what are we suppose to learn? This is called raising the "dramatic question" such as will ET ever make it back home. External obstacles are visibly apparent in most stories because they act as the conflict that needs to be resolved, but Vogler states that there are also internal problems that the hero must deal with, but many writers neglect this facet of storytelling. The call to adventure basically outlines how the story will get rolling. The call to adventure will usually come in the form of a messege, so this is where the archetype of the herald comes into play, and plays an integral role in getting the story moving.
I really enjoy the comparisons that Vogler makes in this book, because through cinema it is much easier to relate certain concepts relating to the hero's journey. I feel like Vogler guides us through everything we should expect in the archetype of the hero, and basically outlines the story for us. I liked the part when he was talking about that the hero's journey was done so to restore a wounded psyche, because when we start out on something at most times were just trying to help ourselves. Vogler has given me some good ideas on different ways to take my story to give it greater depth.
Reading Vogler while writing my draft has been a good experience, because vogler has pinpointed all the key characteristics of a good story. My problem is that i have become bogged down trying to fit all these pieces together, and my story will become overwhelmed. I do not know which ones to keep in and which ones to let go. Vogler mentions the importance of a Theme in your story, and for the life of me i can't figure out if i have ne as of yet. I think this is one necessary element that i need for my story, so might have to shift the mood to give it a specific ambiance.

1. What is the ordinary world in your story
2. Whats voglers fascination with Joseph Campbell
3. i alway thought as premise as a synopsis and not a theme, how are they similar then?

Vogler Response #3

Vogler concludes book one of "The Writer's Journey" by illustrating the characteristics of the remaining archetypes which are essential to a hero's journey, and they are the threshold guardian, the herald, the shapeshifter, the shadow, the ally and the trickster. Vogler continues to make the point that archetypes do no mean characters, but can represent different things in a story, Vogler also maintains that a character has the power to possess more than one of these archetypes at a time and can shift from one to another. I have been watching batman all weekend so i liked the parallel they drew with Alfred acting both as a Ally and a mentor, and how in many case they go together.
I think the main point Vogler is trying to make is that their is an array of different characters who represent different things, things which have become integral in the structure of stories for hundreds of years. I think that stories only change based on the combinations that the archetypes provide, just to draw contrast, how different would the story be between the mentor being an ally and the mentor being a shapeshifter. The way i see it is that all the pieces are infront of you, but the author has the power to jumble them all up, and give dual personas to characters and objects, which in turn leads to a new story. Vogler writes using good examples which are easy to interpret and distinguish.
Everything Vogler has been writing about is important as we draft our first papers in this class. It teaches us a structure to follow that makes the writing process easier. I always feel like its easier to write a paper if i have loads of prewriting notes infront of me detailing step by step how i should go about things. I found in interesting that Eve from adam and eve was listed under a potential femme fatale, i thought that was a little extreme. But Vogler has good examples of the classic archetypes and by relating them to movie and cartoon characters, its easier to decipher what he is talking about.

1. how can some act as both a shadow and a mentor?
2. why was so little said about the trickster? and what more could be said?
3. can the hero also possess the characteristics of the archetypes?
2.