Ethos, Pathos, and Logos

Logos

Song-Ohio by Crosby, Stills, Nash, and Young

Image-http://upload.wikimedia.org/wikipedia/en/thumb/0/00/Tongue_(Rolling_Stones).svg/523px-Tongue_(Rolling_Stones).svg.png


Ethos

Song-Redemption Song by Bob Marley

Image-http://www.pcrm.org/magazine/gm07autumn/images/dog_cage.jpg

Pathos

Song-Teardrops on my Guitar by Taylor Swift

Image-http://www.sfgate.com/c/pictures/2006/03/30/mn_africa26_032_mac.jpg

Vogler Annotation 4

Vogler, Christopher. The Writer's Journey. 3rd ed. Studio City, CA: Michael Wiese Productions,

2007. 83-105.

Summary

In this section Vogler goes into more depth with the Ordinary World stage and the Call to Adventure stage. The Ordinary World is like the “world of the common day”. It shows the audience what the hero is like and creates an atmosphere for them. Vogler talks about various aspects of the Ordinary World stage, such as the title of the story. The title is often the first clue to the audience as to the nature of the story. The opening image also introduces a theme and usually the story ends with a similar image, almost like bring the story full circle. A prologue gives a hero’s backstory and is often used to get the audience engaged or “hooked”. Subtle foreshadowing is seen and questions about the hero are posed. Will they survive? The audience tries to indentify with the hero. Both have universal problems and often times the hero is lacking something. Maybe someone has died or they just don’t feel complete. Maybe they have had a bad past and have a lot of baggage on their shoulders. Ultimately, the goal of the Ordinary World stage is to connect the story with the audience.

Next, Vogler goes into the Call to Adventure stage. The Call to Adventure is like the new “energy” that (usually) springs the hero into action. Sometimes there are coincidences that happen that set the story in motion, like fate. C. G. Jung calls this synchronicity. Or the hero may start their journey by being tempted by something. As with the Ordinary World, the hero maybe called because they are lacking something in their lives and the call is to go and attain it. Sometimes too there are multiple calls. A hero may be called, but be reluctant and then called again until they finally go into the action.

Reaction

Vogler aptly goes into depth about these two stages. His use of examples help to solidify his points about these two stages. Again, as with the rest of the text, Vogler relates his theories of the hero’s journey to real life. A good story can pull the audience in. Typically this is because the audience often sees themselves in the hero. Perhaps they indentify a problem the hero is having that is similar to one they are dealing with, and they want to see how this person deals with that same issue.

Questions

1. What would happen if the hero DID refuse the call? Could there be any story at all?

2. What if the hero is currently in a challenge, but then gives up later, like in The Dark Knight? Is that a refusal of the call?

3. Are the any heroes that don’t have a problem? Would that even be a story?

Vogler Annotation pgs 49-80

Vogler, Christopher. The Writers Journey: Mythic Structure for Writers. 3rd ed. Studio City, CA: Michael Wiese Productions, 2007. 49-80.

Summary

Is this section of Vogler’s book, he discusses several of his archetypes including the threshold guardian, the herald, the shapeshifter, the shadow, the ally, and the trickster. Many of these archetypes are included in each hero story. Vogler starts with the threshold guardian. The threshold guardian is somewhat like a villain, in that it is usually some kind of obstacle in the hero’s way. It is typically not the main villain, but may be like a side kick of some kind to the main villain. The threshold guardian is meant to test the hero and can sometimes even become an ally.

Next, Vogler describes the herald which is like a mentor in a lot of ways. The herald presents a new challenge to the hero when the story is getting slow. In this way, they then provide the motivation for change. The herald is typically a person, but it can also be a force, like an event of some kind.

The shapeshifter is someone who appears to “change constantly from the hero’s point of view”. Typically, this is a woman, although the shapeshifter is no stranger to the male species. The often change mood and sometimes even physically change appearance. Vogler also mentions Carl Jung’s theory of the animus and the anima, elements in our unconscious that represent or female and male qualities. Males with anima, or the female characteristics, are more emotional and sensitive while women are working to regain their animus which is the powerful and assertive side of the unconscious. The anima and animus often plays a role with the shapeshifters.

The shadow is like a villain, but it is not always a person. The shadow is more like a repressed feeling or a dark energy. It can be something the hero does not want to admit about him or herself. These feelings can however, be reflected by a person who would therefore be the hero’s villain. The shadow’s main function is usually to challenge the hero to overcome this fear or repressed feeling.

A more positive archetype is the ally. Allies are helpful “sidekicks” who travel with the hero. Most often they provide advice when the hero needs it, but they can also challenge the hero or give comic relief. They are very similar to the herald and the mentor.

Finally, Vogler describes the trickster. The trickster is often a comical sidekick or a character that desires change. They bring heroes “down to earth” and help them to not take things so seriously. The trickster may also be a hero. This is most commonly portrayed in folktales with animals like the rabbit or the fox. They are quick-witted and often outsmart the villain.

Reaction

Vogler does a good job relating his archetypes to everyday life and to characters in stories. While The Writer’s Journey is typically used for stories like in books and movies, I can see how this relates to real life too. Everyone has or has had a shadow element in their life or a herald or mentor to help them in their own life journey. The anima and animus too is evident in today’s society as men are pushed to be more sensitive and understanding and more and more women are becoming heads of companies or starting their own businesses.

Questions

1. What is the difference between a mentor and a herald?

2. Why are females portrayed as shapeshifters more often than men?

3. Why are the anima and the animus becoming more evident in today’s society as opposed to the past?

If I Were a Disney Character

I had a difficult time deciding what Disney character I relate most to. I saw aspects of myself in a few different characters such as Princess Jasmine, the Chesire Cat and Cinderella. I likethe Chesire Cat from Alice in Wonderland and I feel like I am a very laid back type of person, like said cat. I also thought of Cinderella because I do not quite get along with my roommate and I like to think of her as an evil step-sister. Ultimatly, I decided I related the most to Princess Jasmine, because I do not feel the Cat has as many dimensions and I thought comparing myself to Cinderella simply because of a roommate situation was too shallow.
Princess Jasmine is different from many of the other Disney princesses in that she does not end up with a Prince. She smashes the fairy tale norm into little pieces and I like to think of myself as being different too. I have always been an indepent person and Jasmine is clearly one too. She goes off on her own to escape the pressures of living as royalty which is a big risk.
I too like to take risks. At my own graduation I told off my principal. If Jasimine had not taken that risk she would have never have met Aladin and we would not have this wonderful Disney story. I am also glad I took the risk of disagreeing with my high school principal. Just as not many people would marry a begger, not many people would stand up to a member of authority. I'm glad that I did, as it has made me a much for confident person.