project reflection/ action plan

Reflection: I've explored the ideology of masculinity in today's society. I've used a diverse amount of mediums to portray my major findings in a powerpoint. My major findings include, the misconceptions about masculinity that are portrayed in the media. The thoughts and opinions of 6 different people of different generations on the meaning of masculinity and what a masculine man should be. I have explored how masculinity is portrayed in films, literature, music and art in today's culture. I then gave some insight into the true meaning of the word masculinity through the eyes of everyday men, in order to counteract the way it's portrayed in the media. 

Action: Revise powerpoint presentation to be less wordy and more visual to captivate the attention of the viewers rather then just shoving information down their throats. Find ways to summarize findings in less words that are easy to understand. Figure out when and where i'm going to volunteer. 

Vougler 293-313

summary: Vougler begins by saying that the Hero's journey model not only describes a pattern in myths and fairy tales, but it's also an accurate map of the territory one must travel to become a writer. The hero's journey and the writers journey are in mind indistinguishable. They both follow the same basic patterns and sequences and writing is an often perilous journey inward to probe the depths one's soul and bring back the elixer of experience, a good story. He then describes storys as being somewhat mythical and magical, stating that they have the power to heal us or hurt us. He then draws a comparisson between writers and shawmans saying both are prepared for their work by enduring terrible ordeals. The writer and the shaman both share a godlike power, and travel to other worlds and create worlds out of space and time. He decribes writers as having a magical power to bottle up worlds and bring them back in the form of stories to share with others. 

     The next major idea Vougler conveys is the idea that stories are alive, conscious, and respond to human emotion. They are alive because they seem to be consious and purposeful. Like living beings they have an agenda, something on their minds. They want something form you. They want to wake you up, to make you more conscious and alive. Most of all they want to teach you a lesson disguised as entertainment. They have healing power and can help us deal with different emotions. They have survival value by allowing humans to think metaphorically and pass down the accumulation of wisdom. Good stories show atleast two journeys an outer and an inner. 

    Vougler then recounts the story of rumplestilskin to illustrate his point that wishes are a powerful element of stories. He stresses that the expression of a wish even a frivolous one, near the beginning of a story is important because it calls the story and adventure into being. This wish can be used to teach the audience a lesson because often the hero wishes for something that she or he desperately wants at that moment, but the story teaches the hero to look beyond it to what they really need. The aim of good story telling is to get the audience to make the wish along with the hero. " Good story tellers invite the audiences to invest themselves in the fate of the characters by making them likeable or giving them universal drives, desires, and human weaknesses. Ideally what happens to the hero is happening on some emotional level of connection to the audience. Then it's the storytellers job to grant these wishes. Once in a while however thwarting the audiences' desires is effective. to challenge the assumptions of the watchers.  He then explains the importance of being careful what you wish for. The importance of will is another factor. Wishing can only take you so far, you need the will to attain your wishes. A strong will can be transformed into actions. 

reaction: 

     The section of the reading that I liked the best was the last part about wishes and will. Vougler says how wishes have to be turned into action. Dreams must be made real. I especially like how he states that, "wishing is the yearning of a seed to grow into something great." This made me think about how all major accomplishments and profound changes in history started out as a wish. Another word for a wish is a dream. This made be immediately make a connection to Martin Luther King and his, " I have a dream" speech. Wishes and dreams may seem small and insignificant when they first arise, but if they are shared and acted upon they can turn into something great. Martin Luther King changed the world by sharing his dream with others. I think that any one person with a big dream and enough will has the power to move mountains. This has been proven throughout history.

Q's :

 Where do we see this idea of , " be careful what you wish for," play out in our society today?

Vougler states that, "wishes can evaporate at the first set back, but the will endures". Can you think of a time where this has been true in your own life? 

Vougler also states, " Challenging and stressful situations are repeatedly introduced so that the developing person becomes more resilient, accustomed to conflict and opposition and determined to overcome any obstacle. " Do you think strength of character and an overcoming personality can be developed without trials and tribulations? Are the trials always a necessity of growth?

Vougler pg 231-290

Summary: 

       Vougler spends the last few chapters looking at how the inner workings of the hero's journey can be seen in various films of today. These films he examines are the Titanic , The lion king, Pulp fiction, the full monty, and stat wars. He stresses that the hero's journey is simply a guideline. It can't be applied rigidly to ever story. The ultimate measure of a storys success of excellence is not it's compliance with established patterns like the hero's journey, but rather it's lasting popularity and effect on the audience. Any element in the hero's journey can appear at any point in a story. It's possible to write good stories that don't exhibit every gesture of the hero's journey and it's better if they don't. The needs of a story dictate its structure and the beliefs and priorities of the writers along with the audience, and the time and place which the story is being told. 

   Vougler then talks in depth about the Titanic which is the most expensive movie ever made. The movie was originally predicted to tank, because the vital element of surprise with the ending was lacking, the actors were not well known and it was a period piece. The movie is reality was hugely successful. Vougler argues that the movie was so successful because it captured a universal shared wish for meaning. and it captured this through the use of the hero's journey motifs and concepts. The hero's journeys described in this movie are that of the scientist seeking adventure and that of the old woman returning to the scene of a great disaster. Vougler then goes into great depth to describe the elements of the hero's journey found in the text. The movie titanic is also highly symbolic. One of the symbols i found interesting was the heart of the ocean being a symbol for the idealized notions of love and honor. He also talked about the impact the movie had on the film industry the success is had shows that the big hamlet sometimes pays off. I also found it interesting how the Titanic explores death but makes the case for the full embrace of life. The next movie he describes is the lion king. He talks about how the story line is actually based off of hamlet. He talks about his own idea that were integrated into the movie such as the baptism seen of simba and also other ideas that the film companies rejected of his like focusing more on sambas adolescence. Vougler then describes the elements of the hero's journey which can clearly bee seen in both pulp fiction and the full monty. He ends with talking about start wars and the impact the film has had on mythic structures of story lines. The star wars series best exemplifies Vougler mythic structure. 

Reaction: 

      I found Vougler to be a little too boastful when he was talked about his contributions to the Lion King. I also found he was a little resentful that the film companies didn't take all his advice. I did agree with however on one point he made about the film. He said that the development of Simba form a scared little cub into a teen-aged lion is handled to quickly. I think that it would have made the movie better if they had took this advice. The development of adolence into a teenager is a huge transition and one that the viewers could have related to. This transition should have been payed more attention to. He also commented that the movie failed to dramatize the stages of simba's development, the individual lessons that he has to learn. This is an important part of every hero's journey. Being a teenager is full of drama and trial and tribulation, this could have been better portrayed in the movie. 

Q's:

1. Vougler says that animation with humans is more difficult that with animals because to animate a human character you have to represent a particular ethnic group and choose certain hair and skin colors, which may precent audience members with different features from fully identifying with the character. Do you agree with Vougler here, do you think that it would be harder for you to relate to an animated character that was of different ethnic background than your own?

2. Vougler talks about how Rafiki mentors Simba by giving him hard knocks and tough advice, but at the same time inspiring him. Do you feel all these elements are important in a mentor? What other characteristics are important?

3.  Vougler talks about how the Titanic had elements of synergy which is a combination of elements that somehow adds up to more than the sum of parts. What are other examples of synergy that you can think of? 

4 modes

Mode one: Song: macho man by the village people

Lyrics:

Body...wanna feel my body?

Body...such a thrill my body

Body...wanna touch my body?

Body...it's too much my body

Check it out my body, body.

Don't you doubt my body, body.

talkin' bout my body, body,

check it out my body

Every man wants to be a macho macho man

to have the kind of body, always in demand

Jogging in the mornings, go man go

works out in the health spa, muscles glow

You can best believe that, he's a macho man

ready to get down with, anyone he can

Hey! Hey! Hey, hey, hey!

Macho, macho man (macho man)

I've got to be, a macho man

Macho, macho man

I've got to be a macho man! Ow....

Every man ought to be a macho macho man,

To live a life of freedom, machos make a stand,

Have their own life style and ideals,

Possess the strength and confidence, life's a steal,

You can best believe that he's a macho man

He's a special person in anybody's land

Anyalysis: How many times have you sung along to the chorus of this song when it was blaring over the radio or playing when you were rollerskating back in middle school? It has certainly become a well known song, But how many people actually know any lyrics to the song besides the chorus? The lyrics focus on the physical aspects of masculinity and the way a man should look. The song talks about going to the gym to get big muscles. The emphasis of the song is on the macho man’s ideal body. The song ends with the view of a macho man as someone every one should be and someone who is looked up to in society. What are the implications of having the emphasis of the essence of masculinity being on physical appearance? Does this leave men and boys feeling physically inept?

Mode two: art work: Masculinty by Jamie wyeth

http://www.npr.org/news/specials/schwarzenegger/wyethportrait_140.jpg

Analysis: When Jamie Wyeth was asked to create a painting that was the embodiment of masculinity, he chose to paint a well known portrait of Arnold Swartzinegar. Arnold is your stereotypical masculine man, he not only flexes his biceps on the world stage, but he also knows how to flex his political muscles and has become a powerful and influential man. Jamie’s painting reflects what society conveys to be the image of a masculine man. Arnold is depicted in the picture in a commanding stance that displays his physical prowess. His hand rests in his hip, his head slightly cocked to the right. His arm is flexed in an upright position, his biceps being the main focus of the painting. Again we see where the emphasis of masculinty lies.

Mode three: literature: Silence is male by Alma C. Reith.

Silence is Male

Statistics say a man will say,

In conversation with his wife.

No more then six words every day,

At home throughout his married life.

My husband, non- conformist mate,

Is more magnanimous no mere,

Six words for him, he offers eight.

“I do not wish to talk, my dear.”

-By Alma C. Reith

Analysis: Although this poem has very few words I think it speaks volumes about the stereotype that men tend not to share their emotions. Woman tend to be the more social creatures with an innate need to communicate their feelings. This idea the real men don’t share their feelings, and don’t enjoy conversation as much as woman is something that our society conveys. The poem jokingly says her husband is a nonconformist leading you to think that he openly talks to her all the time. If you read the next lines the author pokes fun at this stereotype saying her husband communicates to her, but only to tell her that, “he doesn’t not wish to talk my dear.” The title of the poem silence is male also suggests that being silent is a characteristic associated with males.

Mode 4: Film: A short documentary on masculinity conveyed in Disney films.

http://www.youtube.com/watch?v=8CWMCt35oFY

Analysis:
Young boys and girls are influenced by the media at a very young age. One of the most influential film companies is Disney, which helps to mold the young minds of todays youth. Movies have an impact on the way the children in our culture think and act, by filling their heads with certain images and creating certain environments. These images and environments, overtime influence the way we view the world and certain topics such as masculinity. Disney films convey three different images about masculinity, these images are sexism, strength, and dominance. Sexism is shown with the objectification of woman, the message being shown to boys is that they should view woman as objects of pleasure or servants to please them. This is true for the film Aladin, Beauty and the Beast, and the Little Mermaid. Disney movies also convey the message that the ideal man is based on his strength. Disney movies glorify one body type, above all others, the chiseled muscular man. Other body types are usually portrayed as weaker characters, who are submissive to the will of the more masculine male. This is shown in the films Hercules, and beauty and the beast to name a few. In the movie Mulan, she learns very quickly that masculinity is defined by strength and physical prowess.

Vougler 197-228

Summary:
Vougler begins by describing stage eleven the Resurrection. For a story to be complete the audience needs to experience an additional moment of death and rebirth, similar to the supreme ordeal. This is the climax not the crisis, the last and most dangerous meeting with death. A new self must be created for a new world and the hero gains a new personality. Another function of the Resurrection is to cleanse the heroes of death yet help them retain the lessons of the ordeal. Heroes must be tested one last time to see if they retained and learned from the supreme ordeal of act two. To learn something in the special world is different then being able to apply that knowledge to your daily life. The threat in this climax is different because unlike the threat in act two the threat is not just towards the hero it's towards the whole world. In westerns the Resurrection is expressed as a showdown or shootout. Conventionally heroes survive death and are resurrected but tragic heroes actually die at this point in the story. The Resurrection often involves a difficult choice. This choice tests the hero's values and see if he will choose in accordance with his old flawed ways or he will reflect the new person he has become. The climax can be quiet or explosive, but it should provide catharis or a purifying emotional release. Sometimes heroes will bring back proof of the special world to show to others. The resurrection also calls for a sacrifice by the hero. The biggest dramatic purpose of the resurrection is to give an outward sign that the hero really has changed.
Following the resurrection is stage 12 return with the elixir. This is a return from the special world bringing something to share with others something that has the power to heal a wounded land. Returning with the elixir means implementing change in your daily life and using the lessons of adventure to heal your wounds. There are two ways to end the hero's journey. One way is to end it with a circular form in which there a sense of closure and completion. The other way is the open ended approach in which there is a sense of unanswered questions. Having your hero return to her starting point allow you to draw a comparison for the audience. It gives a measure of how far the hero has come., and changed. The open ended point of view the storytelling goes on after the story is over, it continues in the minds and hearts of the audience. The return with the elixir is also the point in the story when the hero has out final rewards and punishments. The elixir it's self can be love, responsibility, tragedy, or realization, wisdom or even sadness. The penalty for not returning with the elixir is that the hero or someone else is doomed to repeat the ordeals until the lesson is learned or the elixir is brought home to share. Common mistakes when writing the endings to stories are unresolved subplots, to many ending, abrupt endings, or endings that loose the main focus of the story. The story should end with the emotional equivalent of a punctuation mark.

Reaction: Vougler talks about the two branches to the end of the hero's journey. One ending which is greatly preferred in western culture and American movies is the circular path. in which there is a scene of closure and completion. This ending is the total opposite of the open ended approach where the ending is up to interpretation. The viewers have to think and decide for themselves how the film ended. I think the fact that Americans prefer the circular ending says a lot about our culture. It infers that we like getting thinks spoon fed to us, we would rather have thinks sugar coated then realistic. We would rather have someone tell us what the ending is then figure it out ourselves. Another characteristic of Hollywood films especially fairy tails is the achievement of perfection. Fairy tales bring the shattered family back into balance and back into completion. I think this is important to our society because we want to watch movies that make us feel good. The reality in America is that many kids are from broken homes and families are not so perfect. Watching things work out in the movies and little kids watching fairy tales gives them an escape from reality and a hope that one day things will all work out.

Q's
Do you think having these perfect endings to fairytales in the long run helps or harms todays youth?
Can you think of a movie that you loved because the ending was open ended?
Do you agree with Vougler that the real treasure from traveling is not the souvenirs, but lasting inner change and learning? Why or why not?

Summary:

Stage nine is the next step in the hero's journey. In this stage the heros experiences the consequences of surviving death and they get to lay claim to their reward. After having survived death the hero usually engages in some type of celebration . This allows the hero to replenish strength needed for the return to the upper world. Many times following this celebration is a campfire scene which is an opportunity for the hero to tell jokes and boast. It's also a time for the hero to recall the events or people who influenced him or speak about the unwritten code by which runs his life. For the audience this campfire scene allows the audience to catch our breath after and exciting battle or ordeal. The aftermath of the supreme ordeal may also be an opportunity for a love scene because according to Vougler the hero doesn't deserve to be loved until she has sacrificed something and become worthy of love. Seizing the sword is when the hero aggressively takes possession of whatever was being sought in the special world. The prize is not always given and sometimes it must be taken this is called, "elixer theft". Heros may find that overcoming death gives them new powers or better perceptions. Heros may also see things more clearly, experience self realization or an epiphany. Not all stories follow this pattern. Sometimes following the near death experience the hero may experience some distortion in perception. This could be due to an inflation of the ego.

Few heros elect to stay in the new special world and most take the road back returning to the starting point of their journey or continuing to a totally new destination. The road back marks a time when the heros rededicate themselves to the adventure. The hero may also find that villains may rise up and need to be defeated once more. In some cases the heros leave the new world in a chase seen fleeing for their lives. In fairy tales this scene often involves a magical transformation of objects know as a magical flight. Another way a hero can leave this special world is if they are being chased by admirers or they are chasing after a villain who has escaped into the ordinary world. 

Reaction:

    When I was reading about the flight back to the ordinary world and how in fairy takes many times it involves a transformation of objects known as a magical fight, I immediately thought of the movie cinderella. When the clock strikes 12 she must leave the ball or the special world. As she is fleeing to return to her ordinary world, her clothes and magical wagon are all being magically transformed back into the ordinary objects they started as. I also noticed that she has to return to her ordinary world before her journey is over. In the end she doesn't end up staying in her ordinary world as a salve to her stepmom, she is whisked off to live with the prince and start a new life.

Q's:

Vougler states, "what the hero throws down in the chase to the ordinary world may represent a sacrifice or something of value." When we experience new things in our own lives and come back changed do we sacrifice old things that were important to us in order to make this change?

Do you think that sometimes this sacrifice involves leaving people behind who once were important to us, but may inhibit us from further growth?

Vougler also talks about a reversal of the hero's good fortune during the road back.  

Do you think that sometimes the road back is the hardest part of the journey?

Ester's character seems to be hardened rendering her incapable of experiencing her own pain. When she looses her virginity, she thought it would be a huge milestone in her life. It turns out to be an awful experience, ending in her hospitalization, yet she is numb to the whole event. She recounts the details with preciseness, but mentions nothing about how it made her feel. Shortly afterwards she finds out her best friend has hung herself. She is completely numb to this drastic news showing no sorrow at the loss of her friend. Ester's past experiences in the asylum must have desensitized her leaving her incapable of feelings her own emotional pain.

The strength of my outline was the detail I put into my research. Another strength was the amount of sources I had consulted. Another strength was being able to pick out the relative information out of all my sources and put it together so it makes sense to the reader. Another strength is my ability to inform the reader about the misconceptions on ethanol.

My weaknesses were defiantly my interviews. I had done so much research I knew basically all there was to know about my topic and didn't find the interviews that useful. I didn't utilize the interviews in my outline. I also only filled out the outline for about a quarter of my paper because I have many more paragraphs then the outlined allowed for. Another weakness is pharagraph organization. 

Vougler pg 143-173

Summary:
The Approach to the Inmost Cave and the Ordeal are two important stages of his hero’s journey. The Approach to the Inmost Cave is when the hero enters a new zone with its own Threshold Guardians, agendas, and tests. There are a few different approaches the hero can take to the inmost cave. He can use the courtship approach or the bold approach. Vougler uses different parts of The Wizard of OZ to explain the different stages in the approach to the Inmost Cave. Before the hero can move forward he has to get a plan of action. The heroes will need to regroup and make plans. There are obstacles and threshold guardians along the way in this approach to in inmost cave. Obstacles and illusions may also stand in the heros way and temporarily prevent him from making progress. Tests, high stakes and complications may deter the hero and make it necessary for him to reorganize and ready his defenses. At the end of this approach to the inmost cave there is no turning back the hero must get ready to face the ordeal and the potential life or death situation.
The Ordeal is the main event in hero’s story. The main point of the Ordeal for the hero to die so that he can be reborn. This is when the biggest change occurs in the hero. The Ordeal often involves the hero’s innermost fears.The rebirth of the hero impowers him to continue fighting these challenges. The Ordeal is a crisis and not the climax of the story. This part of the story is the most dramatic and causes the most tension. The hero comes close to death, may appear to die, and may even witness the death of others. The next step after cheating death involves a reward.

Reaction:
Vougler talked about Demonization and how, “no matter how Alien the villains values are they are the dark reflection of the hero’s own desires, magnified and distorted, her greatest fears come to life.” This is an interesting concept. That perhaps the hero and the villain could both have the same deep dark desires. I think this explain how in some movies a character that may start out as a hero but turn into a villain. Sometimes the hero gets caught up in the power he or she accumulates and gives into the dark desires of their heart. I think we also see this in manifest in life sometimes people you think are hero’s or role models and you look up to them, but power can change people and motivate them to give in to dark desires.

Q’s: Keeping in mind Vougler’s definition of demonization, can you think of a film in which the hero becomes the villain?

Do you think if you encountered a near death experience in your own life it would be powerful enough to change you so much that in a sense you would become reborn?

What do you think about the “death of the ego” where the hero embraces the god within and find a deeper meaning and connectedness to the world around him, instead of just living for himself? Could this be considered the most important stage in the Ordeal?

Summary:

Crossing the first threshold is when the hero stands at the edge of adventure, and the special world of act two.  Crossing the first threshold is an act of the will in which the hero commits wholeheartedly to the adventure.  Threshold guardians are the beings who try and block the hero from crossing the threshold. The task for the heros at this point is often to figure out some way around or through these guardians. Threshold Guardians who seem to be enemies may be turned into valuable allies.  At the crossing the hero must first take the leap of fate.  The hero doesn’t always land gently after the leap of fate.  The most important function of this period of adjustment to the special world is testing. Storytellers use this phase to test the hero, putting her through a serious of trails and challenges that are meant to prepare her for greater ordeals ahead. Another function of this stage is the making of allies or enemies. The testing stage may also provide the opportunity for the forging of a team. The strengths and flaws of the team members are revealed during testing. The hero also learn who his enemies are. The rival is a special kind of enemy. The rival is usually not out to kill the hero but just complete him in competition. Another hurdle the hero must get over is learning the new rules of this special word. An important place to gather information, meet people and learn about the journey ahead is the watering hole or a bar.

Reactions:

            I thought it was interesting how Vougler said that the hero doesn’t always land gently after taking a leap of fate. In life we don’t always get rewarded after we take chances. Sometimes when we are willing to confront challenges in our life and commit to our own adventures, things don’t work out right away. Getting committed is only part of the battle. I also thought it was interesting how Vougler talked about how, crossing the first threshold is when the hero is really tested. He said these tests are meant to prepare the hero for greater oreals ahead. I think this is true in life. Whenever we are tested weather is be academically, physically, or emotional it makes us stronger and wiser and more able to face the future.

Questions:

1.     Vougler talks about how strengths and flaws of team members are revealed during times of testing. Do you think that this is true of  your friends, that their strengths and flaws really shine through when your relationship, or your friends are tested?

2.     Do you think that a rival can be a good thing, and through competition with the hero push him to do his best?

3.     Can you think of a movie in which the rival is the actual catalyst to the hero’s success in his journey?            

Vougler 107-127

Summary: A refusal of the call is the most common reaction of a hero to their call to adventure. This is because the hero is being asked to say yes to a great unknown, to an adventure that will be exciting but also dangerous and even life-threatening. It wouldn't be a real adventure otherwise. It's understandable that the reaction would be hesitant because the hero is standing at a threshold of fear, fear of the unknown. It's natural for heroes to first react by trying to dodge the adventure. They also tend to make excuses why they shouldn't go on the ad venture, but a persistent refusal of the call can be disastrous. A hero may have more then one calls to adventure at a time and there may be some special cases where it's a good thing that the hero refuses the call. Some heros never refuse the call they are called willing heros. Heros usually violate limits set by mentors and threshold guardians due to what is called the law of the secret door. This is a symbol of human curiosity and the powerful drive to know all the hidden things or secrets. Meeting with the mentor is the second stage of the hero's journey in which the hero gains the supplies, knowledge and confidence needed to overcome fear and begin the adventure. The mentor is the source of wisdom. Mentor s in folklore are usually magical protectors. Chiron is a prototype for a wise old man or woman. The word mentor comes from the odysseys and his friend named mentor. Mentors act mainly on the mind of the hero. They can at times mislead the hero and if they become to attached it can be dangerous. The heros can also become dangerous to the mentors. Mentors can be regarded as hers wo have become experienced enough to teach others

Reaction: My initial reaction to the text was that I related the call to adventure to the call I received to come to Eckerd. I have never been away from home, and I've grown up in the same house in the same town all my life. When the prospect of leaving the state to go all the way to Florida came up I initially refused it. The other colleges I applied to were all much closer to home. It was my dad who functioned as the mentor on my journey. He convinced me that going to Eckerd was the best thing for me and that it was time I left home and really spread my wings. He has been supportive through the whole transition assuring me that this is the right place for me. He gives me knowledge and confidence I need to succeed here in this new environment. His role is that of the stereotypical mentor in the heroes journey

Questions:

Vougler states that in some stories there is no actual character performing the many functions of a mentor, but heroes almost always make contact with some source of wisdom weather it's looking inside themselves or learning from the past experiences of others. Can you think of a story that has no mentor character?

Can you think of a story where the hero found the wisdom he needed within himself rather then those around him?

Vougler also states that sometimes the hero mentor relationship can take a tragic of deadly turn if the hero is ungrateful. Can you think of a time when you were ungrateful to someone who has helped to mentor you?

revision plan

Editing

-       take out some commas that are not needed and only used to break up speech.

-       Fix the past and present verb tenses in my paper and make sure they are consistent.

-       Fix run on sentences

Revise

-       get rid of this, and it’s throughout my paper and replace them with more powerful descriptive words

-       transitions from one paragraph to the next

-       ending> need to find a way to communicate what lessons I took with me or what I learned from the experience> need to take back the elixer to my ordinary world> also communicate what the readers cdan learn from the story without sounding to cliché 

quiz

1.     The ordinary world of Gregor Samsa get’s completely turned upside down when he wakes up one morning and finds out he has transformed into a giant insect. His ordinary day to day routine was centered around work because he was a treveling salemen who was very dedicated to his job. He lives with his mom dad and sister and his money supports them. When he finds himself changed into a bug this ordinary routine of going to work to get his family out of debt is no longer possible. His call to adventure is when his parents, sister and chief clerk all try and get him to out of bed and to open his door.  It’s not that he refuses this call, but rather that his current situation of being transformed into a bug holds him back. He can’t figure out how to manuver his new body.  When he finally does leave his room he finds that his parents and boss are frightened of him and his dad shoes him away.  This special world he has enetered into is in the same setting as his ordinary world it just involves learning how to deal with his current situation of being transformed into a bug.

2.     The social issue being critiqued in this work is the work ethic of society, Gregor wakes up one morning to find himself transformed into a bug. Normally you would expect him to be hysterical over the fact that he is a giant bug, but he is more concerned with the fact that he is going to miss the train and can’t go on his business trip. The fact that he is going to have to miss a day of work is more distressing to him then his own situation. I think this critiques how our society can get so wrapped up in work that we become workaholics, even incapable of focusing on anything else. The red scare is related to the metamorphosis because the red scare was all about how Americans were afraid of communists. There were many accusations made against fellow Americans calling them communists. For the first time Americans were suspicious and afraid or their own people, their own kind. This is related to how Gregor’s mother and father were afraid of him, even though he was once just like them. They knew it was still him inside but because his appearance was different they shunned him. In the red scare many people were accused of being communists falsely because they appeared to be.

3.     A bug

Chapter summary:

Most stories start with showing the ordinary world of the hero. This ordinary world frames the hero and sets modern-day stories in motion.  This ordinary world is also a base line for comparison. The mythological approach to a story uses metaphors and comparison to get across the writers feelings about life. Titles are important part of a stories. Good titles can become a multi-leveled metaphor for the condition of the hero or his world. The opening image can be a powerful tool to create mood and suggest where the story will go. It can also suggest theme. The ordinary world should be as different as possible form the special world, so the audience and hero will experience a dramatic change when the threshold is crossed. Every good story poses a series of dramatic questions about the hero. Every hero needs an inner and outer problem, and they need to learn something in the course of the story. It is all important that the opening scenes create an identification between audience and hero, a sense that they are equals in some ways. You can do this by giving the heroes universal goals, drives, desires or needs.  Heros also have to lack something; a journey is about searching for completeness. Tragic flaws or wounds also help to humanize a hero and make him more relatable.

            The call to adventure gets the story going. It can come in the form of a message or a messenger. It can be a stirring within the hero. It can also be through a string of accidents or coincidences that may be the message that calls a hero to adventure (synchronicity). It can also be a temptation, which calls the hero to adventure. It’s often delivered by a character in a story who manifests the archetype of the herald. This call to adventure can often be unsettling or disorienting to the hero. It may come in the form of a loss or subtraction from the hero’s life in the ordinary world. The hero maybe simply be running out of options. Not all calls to adventure are good they could sere as a warning of impending doom on the hero. There can also be more than one call to adventure

Connection:

 The ordinary world of the hero is somewhat relatable to the high school. It’s a familiar environment in which people feel comfortable. It’s close to home and close to your friends and family. It’s a place that helps to mold you and form you into the person you will become. It’s a stepping stone on the way to bigger and better things.  Leaving this ordinary world is like going off to college. This is a call to adventure, when you are forced to leave high school behind. The environment of college is much different then the environment of high school. There is a lot more freedom, and a lot less rules and regulations. You have a whole new list of responsibilities and challenges to overcome in this new journey of college life, much like in the hero’s journey.

1.     Vougler states on page 89, “audiences love to see characters learning, growing, and dealing with the inner and outer challenges of life.” Why do you think that is?

2.     How the audience first experiences your hero is another important condition you control as a storyteller. How is this related to first impressions and how much do you judge a person based on his or her first impressions?

3.     Vougler states that, “fairy tales are about searching for completeness?” Do you think this is an archetype shared by all of humanity, this search for completeness?

If I had to pick one Disney character that I am the most like it would be Goofy. He has a very optimistic view of the world and always seems to see the good in the people around him. He also loves to be as silly as possible in order to make everyone around him laugh. I also enjoy making a fool of myself just to get a laugh. He happens to be a huge klutz and crashes into just about everything. I can't even count how many times i've crashed on the yellow bikes around campus.

Goofy seems to get along pretty well with everyone around him. He's an easygoing guy who isn't quick to anger. I am a pretty easygoing person, and it takes a lot to get me upset. I tend to just let others win arguments and avoid confrontations. I like to just go with the flow and have a good time like Goofy does.