Project 3: Domestic Violence

Organizations:

• CASA
• Florida Coalition Against Domestic Violence
  

Videos:

• http://www.ywcabham.org/Video/cathystory.wmv
• http://www.webmd.com/video/domestic-violence-batterer

Books:

• Surviving Domestic Violence: Voices of Women Who Broke Free

• Abuesed Men: The Hidden Side of Domestic Violence by Philip W. Cook

• Domestic Violence: The 12 Things You Aren't Supposed to Know by Thomas B. James
  

Journey Makers

Through A Child's Eyes By Dawn Dulaney
No Holds Barred By Rosemary Rothwell

Silence and Shadows By Anonymous

Night Terrors By Betty Haskell

From Pain to Promise By Dianne Susag

AWBW - "The Monster In Me"

Why Daddy? By Stephanie



















I Am Sorry For Being A Monster By Maria


















I Will Bite Your Head By Anonymous

















Broken By Maria

Stages 9 & 10 of the Journey

Vogler, Christopher. Vogler, Christopher. “Book Two: Stages of the Journey.” The Writer's Journey. Third. Studio City, CA: Michael Wiese Productions, 1998. 175 – 194.

Summary:
Reward –

At this point, the Hero has gotten past the hardest part of his/her journey, the Ordeal, and now it is time for him/her to reap the reward for his/her labor; i.e., collect what he/she came for (seizing the sword). The only problem is that sometimes the Hero goes through all that trouble just to not be given his reward; he/she has to steal it (which is more trouble for the Hero to go through). This is also the opportune time for the Hero to recap what has happened up until this point, celebrate, and make love.

Considering that the Hero has gone through the greatest of ordeals, it is almost certain that he/she has changed or is seen in a different light by others. That change in perception by himself and by others allows him/her to look at the world differently (new perceptions, seeing through deception, clairvoyance, self realization, epiphany) or others to initiate him/her, respectively.


The Road Back –

In this stage, the Hero, usually, returns to the Ordinary World; In order to do that, the Hero has to put into use all of the lessons that he/she has learned throughout his/her journey. Sometimes it is hard for the Hero to return, because that means starting another adventure; however, some sort of external force, inner resolve, or reminder of the Hero’s ultimate goal appears and reminds the Hero that he/she cannot stay in the Special World.

• Enemies:
o At this stage, the Hero still has to worry about his/her enemies. Just because he/she thought he killed them, does not mean he/she actually did. This is a popular time in the story for chase scenes (chase the Hero, the Villain, or by an admirer), magic flights, and setbacks (could be the Delayed Crisis).

The Road Back is the stage that shows the Hero’s determination to finish the journey, in spite of the allure of the Special World and any tests that are lurking ahead for the Hero.


Reaction:

Personally, I feel as though The Road Back is a very important stage in the journey, because it brings reality to the Hero’s situation. If the story ended with the Hero getting his Reward without any repercussions, then the story would be too perfect. It is nice to see that despite all the trials that the Hero has faced, he/she is still determined to complete his/her journey.


Questions:

• We see that, during the Reward stage, the Hero’s perspective of the world has changed due to his/her trials and triumphs. Is it still possible for him/her to return to the Ordinary World and be content?

• Is it possible for the Hero to stay in the Special World forever?
o What is the importance of the Hero returning to the Ordinary World?

• Is the Villain’s escape just an excuse to create a sequel?

• How does death change the Hero?

• Are all Heroes fearless after going through their journey?

The Bell Jar

Silke Gapsis
Mrs. Robinson
Analytic & Persuasive Writing
October 29, 2008

Sylvia Plath’s The Bell Jar

Vogler’s skeletal construction common to all stories, which can be found in his book The Writer’s Journey, can easily be seen in Sylvia Plath’s The Bell Jar. Throughout chapters nineteen and twenty, one can see different stages of the journey. What is so interesting is that the main character, Esther, has several journeys happening simultaneously. The first journey is Esther’s relationship with Joan. Joan is, in a sense, Esther’s Mentor and Ally. The two have gone through similar experiences; Joan just seems to be one step ahead of Esther (they both dated Buddy, they both went to the asylum, and Joan left the asylum which is what Esther had hopes of doing). As Esther’s Mentor, what happened to Joan could serve as foreshadowing for Esther’s future. However, it could also show Esther what not to do. The second journey is Esther’s journey through the Asylum and her hope to return to college. Throughout the reading one can see glimpses of Joan’s past, her Ordinary World. Her Call to Adventure was whatever event that transpired that caused her to enter the Asylum. Her hopes of returning to college and having a normal future shows her desire to return to her Ordinary World, which could only happen after she has recovered (the process of recovery would require Esther to be tested and to approach her Inner Most Cave). The third is her relationship with Irwin, which also brings into play her relationship with Buddy. For Esther, Irwin was both an Ally and a Trickster. His life did not really change after his sexual encounter with Esther, but her life did. She wanted to change, lose her virginity, because of “the corruption of Buddy Willard,” and that change caused her to go to the hospital. Buddy Willard seemed to be an Enemy of sorts, even though he was kind to Esther, because he, potentially, was the cause of her going to the Asylum and was the reason why she wanted to lose her virginity (which ended up in Esther getting hurt). Throughout those three instances parts of Vogler’s journey can be seen. What is so interesting about Plath’s use of the journey is that it is more realistic. Her approach does not follow the framework exactly, but rather reorders the journey and the appearance of archetypes to a more believable form; how they would appear in real life.


Plath, Sylvia. The Bell Jar. HarperCollins, 1963. 183 – 200.

Extra Credit

What you did? What you learned? Why others should do the activity?

Week 1: Go to http://www.freerice.com/ and donate 1000 grains of rice.
Freerice.com is a website which serves a dual purpose: to donate food to those in need, and to help build people's vocabulary. On it, I went through probably about twenty words which helped to donate rice. From it, I learned some new words like deglutition (swallowing). Others should do the activity to challenge their brain, and to do good for the world.

Week 2: Go to http://www.smithmag.net/sixwords/ and post your six-word memoir
On this website, I posted my six-word memoir. It was an interesting activity, because it really makes you think about your life. Defining and summarizing your life in six words is so difficult. It's just a really good way to think about the past, and to analyze the way you live your life.

Week 3: Go to http://www.npr.org/ and search for the StoryCorps. Listen to one "story."
I listened to the "story" A Blind Date That Turned Into 60 Years. It was really interesting, because I could not imagine being married for that long. It was really cute to see how the couple related. This was an interesting assignment for extra credit and I would recommend this site to other people because you can learn a lot from others' experiences.

Week 4: Go to Web of Language- and select one story that interests you.
I read the story What to name the baby? Forget grandma, hire a consultant. This story was interesting, but kind of depressing at the same time. People should not hire someone else to come up with a name for their kid. It was just bizarre. Others should do this, because there is a lot that you can learn from the most random happenings in the world. Even if these stories do not come in handy in school, they can sure come in handy during conversations. These stories can serve as evidentiary support during arguments, or just to make your own point more interesting.

Week 5: Go to http://www.youtube.com/watch?v=m3XxOfjntFA and http://www.youtube.com/watch?v=EP2fBWrH46M. Watch the two links.
The first video was just too much for me, but I really liked the second one. I thought it was really informative about the use of Ethos, Pathos, and Logos in movies. It also helped me to understand Ethos, Pathos, and Logos better because it used a media that I am familiar with and like.

Week 6: Go to www.actsofkindness.org and read the stories. Then decide on a random act of kindness that you can do.
It was kind of funny to read these stories, because you can tell some teacher had her class write their own act of kindness stories, so some of the stories were ridiculous. I like the concept of this website, but I do not think that it really does any good. Acts of kindness are not supposed to be bragged about. Maybe the stories should not be written by the person who did the act, but rather by the person who reaped the reward. I am not going to write about what I can do, but about an act of kindness that I received instead. This past summer I parked my car in a store's parking lot and went inside, when I came back out I realized that I had locked my keys inside my car. This was not atypical for more, I did it all the time. Luckily for me there was a auto parts store near where I parked, so I went in and bought a Slim Jim. Unfortunately for me, It was harder to use than I thought. So, I asked these two guys to help me and they gave it the good ole college try for about an hour, but they could not get it either (1st Act of Kindness right there). After they left, I called my brother because he works at a car dealership and knows what to do, but he could not come help me because he had to work. Luckily for me, he called his friend C-saw who came and popped the lock for me. When I asked him if there was anything I could in return, he simply said "pass it on." It was such a nice thing for him to do, and he did not even ask anything in return.

Week 7: Locate three youtube links that deal with your project two area for inquiry. Post these links on your blog.

http://video.google.com/videosearch?q=female%20gangs&ie=UTF-8&oe=utf-8&rls=org.mozilla:en-US:official&client=firefox-a&um=1&sa=N&tab=wv#q=girl%20gangs&emb=0

http://video.google.com/videosearch?q=girl%20gangs%20scissor&ie=UTF-8&oe=utf-8&rls=org.mozilla:en-US:official&client=firefox-a&um=1&sa=N&tab=wv#q=gangs&emb=0

http://video.google.com/videosearch?q=girl%20gangs%20scissor&ie=UTF-8&oe=utf-8&rls=org.mozilla:en-US:official&client=firefox-a&um=1&sa=N&tab=wv#q=gangs%20police&emb=0&start=10

Week 8: Locate the email address for the author of one of your sources. Construct an email to that author, and mention the research you are doing. Ask a question, or give a perspective on his or her research. BCC me on the email.
~~Get out of jail free card.~~

Week 9: For Halloween, dress in a costume which reflects a topic or character discussed in class. Take a photo of your "self" and post it on your blog.
~~Get out of jail free card.~~

Week 10: Vote or if you are not old enough to vote, go to http://www.rockthevote.org and locate your polling place.
I VOTED! I don't have much to say about it, but I feel proud that I was able to participate in such a historical election.

Week 11: Submit a piece of your writing to the Eckerd Review. www.eckerd.edu/ecreview.
~~Get out of jail free card.~~

Week 12: If you have received a "get out of jail free" card, then that can be redeemed for three extra credit opportunities.

Week 13: If you have perfect attendance for the course, you may use that for two extra credit opportunities.
~~Get out of jail free card.~~

Week 14: Go to www.1000000monkeys.com. Post the beginning to your own story. Post the link to your story on your blog.
~~Get out of jail free card.~~

Strengths and Weaknesses

S: Value, structure, and activities are good points to cover.
W: Define more of what a female gang is, looks like, functions, etc. You may not need to add male gangs

S: Great topic. I am interested and want to read the final draft.
W: Strengthen the body of the paper.

S: I think that this is a very interesting topic.
W: Try and find evidence that supports what you are trying to say.

S: I did not know that there were female gangs, so this could be a very informative paper.
W: You need to narrow down your focus and direction of the paper.

S: You have a lot of good ideas about what you want to say in your paper.
W: Try and narrow down what you want to say, so it will be easier to follow and easier to refute.

Stages 7 & 8 of the Journey

Vogler, Christopher. Vogler, Christopher. “Book Two: Stages of the Journey.” The Writer's Journey. Third. Studio City, CA: Michael Wiese Productions, 1998. 143 – 173.

Summary:

Approach to the Innermost Cave:

I.) At this point, the Hero has adjusted to the Special World.

II.) Time for Wonder and Terror.

III.) The Approach – Time for Preparation.

a. Romance – can create elaborate relationships.

b. Bold – can serve as a distraction, or cause problems for the Hero.

IV.) Obstacles

a. Prepare the main characters for the true challenge.

i. Impossible Tests.

ii. Dramatic Complications (help raise the stakes).

b. Threshold Guardian

V.) Recap: Essentially, the approach to the Innermost Cave is not only meant to help build up the story’s climax, but is also meant to help prepare the Hero and his Allies. They face numerous obstacles and tests so that they will prepared when they finally reach the ultimate ordeal.

The Ordeal:

I.) Heroes must die so that they can be reborn.

II.) Every Hero experiences change due to their journey.

III.) Crisis – not the climax, but the point where the Hero begins to get worse or better.

a. Central Crisis (happens half way through the story).

b. Delayed Crisis (no ordeal, just a dramatic build-up to end the second act).

IV.) Death -

a. Hero appears to die.

b. Hero witnesses a death.

c. Hero causes death.

d. Hero cheats death.

i. With the help of the Mentor’s gift.

V.) Facing the Shadow

a. Demonizing - It is the Hero facing his negative possibilities which have manifested in/projected onto another form.

VI.) Facing the Villain

a. Villains should not be too easy to beat – they sometimes escape.

b. Villains are the Heroes of their own stories.

VII.) The Ordeal – the death of the ego.

a. Apotheosis

Reaction:

So far we have seen all of aspects of the past combine in order to help the Hero approach the Ordeal, then we saw the Ordeal which is where the Hero conquers his villains and the Second World. I think that all ends need to be tied in order to make the audience feel satisfied and to give the Hero and unburdened cleared slate for the Ordeal. I think it was interesting that Vogler said that Villains are usually the embodiment off all the Hero's worst aspects. It shows that our worst nightmare in life is ourselves.

Questions:

If Villains are the Heroes of their own stories, does that mean all Heroes are Villains to someone else? Are we scared of ourselves?

What do you guys think is a typical response to defying death?

If being one with the world is the outcome of conquering an ordeal, would a hippie or Buddhist make for an ideal and accomplished Hero?

After seeing and facing death, how come it is so easy for most Heroes to just keep on going or improve? How come they do not go into a downward depressed spiral?

Stages 5 & 6 of the Journey

Vogler, Christopher. Vogler, Christopher. “Book Two: Stages of the Journey.” The Writer's Journey. Third. Studio City, CA: Michael Wiese Productions, 1998. 127 – 141.

Summary:

Crossing the First Threshold -
- The Hero commits to the adventure.
* External force - not usually because of their mentor.
* Internal force -
* Combination of external and internal.
- Encounter with the Threshold Guardian:
* Block the way, or test the Hero.
* Tend to gather around a literal threshold (i.e., door, gate, or narrow passage).
* Getting around the Guardian:
~ Recognize the Guardian's power, but realize it's not a threat.
* Threshold guardians can turn into valuable allies.
- Crossing the Threshold:
* Takes courage.
* Make cause a crash, or crisis.

Tests, Allies, and Enemies -
- New World:
* Contrasts with the Ordinary World.
* More trials are soon to come.
~ May be a continuation of the Mentor's training.
~ Usually the Villains and Shadows dominate the New World -- it's their territory, so they can set traps.
~ The Hero must determine who his Allies and Enemies are.
- Sidekicks.
- Teams.
- Rivals.
- Enemy Underlings.
* Often times in the New World there are New Rules.
~ If those rules aren't followed, the Hero can get himself into trouble.

** The phase of Tests, Allies, and Enemies help the audience get to know all of important characters in the story. It also allows the Hero to prepare for the upcoming stages of his journey.

Response:

The phase where the Hero crosses the threshold is very important, because it is the true start of the journey. However, the phase where the Hero meets his Allies and Enemies kind of takes a slow start, but is very important for setting up an exciting and compelling story. Knowing who to trust and who to fight against is important for later on in the story when the Hero is tested. Those two phases are exciting just because the climax is getting closer and closer.

Questions:
- Is there a point where the Mentor should leave the story?

- Is a story more thrilling if we are misled to believe that Enemy is an Ally, or Sidekick?

- Is it possible for a Hero to not make an Ally?

- After the Hero travels to the New World, is there any way that he can return to his Ordinary World without facing any tests?

Stages 3 & 4 of the Journey

Stages 3 & 4 of the Journey

Vogler, Christopher. Vogler, Christopher. “Book Two: Stages of the Journey.” The Writer's Journey. Third. Studio City, CA: Michael Wiese Productions, 1998. 107-125.

Summary:

Refusal of the Call -

- Informs the audience of how risky the journey truly is.

- Shows that the reward is greater than the risk.

- Types of Refusals

o Avoidance: usually overcome by an inciting event.

o Excuses: usually overcome by the urgency of the quest

§ Persistent refusal leads to tragedy.

§ There can be multiple calls at once.

o Positive Refusals

§ Usually refusing the call has a negative outcome, but not always.

§ Artist as a Hero.

- Willing heroes are the exception, and don’t try to refuse the call but rather seek it out.

- Threshold Guardians (who is sometimes the mentor too).

o Usually appear after the Hero has accepted the call.

o Used to question the Hero’s worthiness.

- The Secret Door is the kryptonite of a hero and brings out their curiosity.

Meeting with the Mentor -

- Mentor’s Job

o Supplies the hero with something needed.

§ Teach, guide, protect, test, train, and provide magical gifts.

· Help get the hero past his fear/doubt.

§ They are the evolved hero.

- Meeting with the Mentor

o Rich in potential for conflict, involvement, humor, and tragedy.

- A good mentor is enthused about learning.

- Conflict

o Sometimes the mentor can turn into a villain or betray the hero.

§ It’s healthy to be slightly distrustful.

Reaction:

Similar to how I have felt about other readings, I never realized how important these roles and stages are to creating an intricate and interesting story. I also never realized how important foreshadowing and allusions to the past could be.

Questions:

- Do you think it is possible to have an inexperienced Mentor?

- Is a Hero truly a Hero if he gives in to his secret door? Can a story end with the secret door, or does the Hero always regain their authority?