...The use of archetypes in literature and movies is prominent and helps the readers and audiences to have a basic knowledge of the character backgrounds. In the Gingerbread Man story, the grandma and grandpa were lonely because they had no children and wanted to make a child out of gingerbread dough. The grandma and grandpa are categorized as caregiver and creator. They hoped to take care of the gingerbread man as their precious child, which we can see that they are associated with the caregivers’ qualities. However, the Gingerbread man turned out to be an explorer. He desired freedom and exploration of what he can do in the new world. He feared of being trapped so he ran away from grandparent’s home and challenged himself to run away from many...
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...Archetypes Human Nature Breona Myers 2/2/2017 The idea of archetypes began with the psychologist Carl Jung. He believed that we house these archetypes in our unconscious and that they are created by our experiences and in turn create our emotions. Archetypes also shape the structure of literature. It is the collective unconscious which is experiences shared by a culture is recreated in literature and other art. Although there are many archetypes, in this paper we will look at four. The innocent youth, or child, helper, villain and lastly the trickster. The innocent youth archetype often seeks to spend time with others and is often seen as inexperienced. The innocent youth trusts others and that in turn causes many to like them. In literature, this innocence often becomes a coming of age. The innocent youth archetype is often free in their thinking and their desire is to get to paradise and ultimately be happy. They do not want to be punished for doing wrong and are generally optimistic. We see this in the Wizard of Oz with Dorothy. She is longing for her innocence and is shown initially when she ran away to try to catch Toto. She became lost and ended up in a magical...
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...The presence of archetypes is an essential element of the quest storyline, both in American and foreign literature. Pioneers of the archetype concept include scholars Joseph Campbell, Christopher Vogler, and Carl Jung, whose notions of archetypal literature developed into what most academics accept as the characteristic blueprint for a quest story today. Though these archetypes were first described just over a hundred years ago, they have persisted throughout literary and visual art for millennia. The most important archetype that Vogler describes in his Memo That Started It All is The Hero. He describes Hero characters as the central figures of stories that often make influential accomplishments on behalf of their respective civilizations...
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...The dichotomy created between Baldr and Loki might have led Loki to murder Baldr. Loki could have been acting out of jealousy. Everyone loves Baldr, while the other gods dislike Loki despite his utility to them. Loki has also given gifts to the gods. He gifts Odin his child, Sleipnir and gives Thor an enemy, the Midgard Serpant (39, 52). The gods’ distrust of Loki prevents them from seeing Loki’s contributions. Baldr does not give any gifts, yet receives the Frigg’s protection (65). Loki could be reacting out of envy when he kills Baldr. Frigg works to give Baldr invincibility because of his dream of his murder (65). However, the text does not say Baldr can see into the future, so his dream should not have any affect on his safety. This gift...
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...typical representation of these theories. ‘Let the right one in’ falls mainly into the category of horror, in someways staying quite typical to its genre. For example it features typical narrative elements of the horror genre including murder and survival as well as style conventions such as low-key lighting and an ominous score. However, ‘Let the right one in’ also subverts these conventions by challenging various narrative elements. Alfredson was unconcerned with vampire conventions associated with the horror genre and scaled down many aspects of the novel, making the film more character and story led, focusing on the developing relationship between the two main characters; twelve-year-old Oskar and two-hundred-year-old Eli, a vampire child. The first sequence of the film sets up many of its key themes. We see a black screen with white snow falling, an obvious example of opposites- black and white. This is reflected with the portrayal of Oskar and Eli, ‘One way in which binary oppositions reveal themselves in a narrative is through the physical appearance of the characters…’ (Fourie, 2001 p.154), Oskar is deathly pale and has blond hair whereas Eli has a more darker colouring. This is an example of Strauss’ Binary oppositions. This theory can also be applied to the representation of gender in Oskar and Eli’s relationship. Oskar is male and human as opposed to Eli who is a vampire and supposedly female. Eli is portrayed as a strong predator whereas Oskar could be seen as the...
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...The Reader Text type = Novel By = Bernhard Schlink Text about = Apocalyptic Germany giving way to the new or emergent post world was Germany. How do the crimes of four bears effect the children ? This is the central theme of Schlink’s “The Reader.” Idea 1 = Michael represents innocence and his choice of sexual relationship with an older women demonstrates both his journey into ‘adulthood’ and the interlocking of two generations. The oedipus complex is used to demonstrate Hanna and Michaels relationship. Hanna’s nickname for Michael was “kid” and for her the appeal of Michael was his innocence. Hanna is archetype for the horrors of the holocaust, the bears of guilt and strain of illiteracy. Michael wanted to gain experience and understanding and go from viewing himself as as a child, “I had run away like a child, instead of keeping control of the situation, as I thought I should. I wasn’t nine years old anymore, I was fifteen” to someone who had experience and knew their “ … way around women, and could be comfortable and open in a friendly way.” Michael’s journey to enlightenment and adulthood had a massive effect on him, “ It wasn't that I forgot Hanna. But at a certain point the memory of her stopped accompanying me wherever I went. She stayed behind, the way a city stays behind as a train pulls out of the station.” The metaphor ?? demonstrates how much of an impact one person can have on one’s life. Can I use “The Odyssey is the story of motion...
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...SYMBOLS, ARCHETYPES & MOTIFS Symbols Three categories: Archetypal – The first symbols of humankind that have replicated themselves in stories throughout the ages across all cultures. They appear in the stories of groups from cavemen to 21st century authors. The term “archetype” was coined by Karl Jung who used them as the basis of “collective unconscious” theory. Cultural – As cultural groups use archetypal symbols to represent their values, fears, beliefs, and expectations, these objects take on meaning specific to that group. For example, the cross is an ancient archetypal symbol. When cultural groups adopt it, the meanings become both universal and specific. For most cultures the cross holds spiritual significance; hence its archetypal meaning. For Christians the cross takes on specific representation of Christ’s crucifixion. Nuance – These objects take on symbolic meaning in the work in which they appear. Modern writers often create their own symbols by repeatedly using the object in meaningful ways. For example, Golding used the conch shell to represent order and governmental control. NOTABLE ARCHETYPAL SYMBOLS, CHARACTERS, AND STORY PATERNS Characters: Hero (Epic, Classical, Romantic, Realistic, Anti-Hero) Outcast, Scapegoat, Trickster, Platonic Ideal, Monster, Temptress, Star-crossed lovers, Clown/jester, Prophet Story Patterns: Rite of Passage/Initiation, Creation, Fall, Expulsion, Death & Rebirth, Journey, Quest Symbols: (Archetypal symbols have...
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...[pic] CARL JUNG 1875 - 1961 Dr. C. George Boeree [pic] Anyone who wants to know the human psyche will learn next to nothing from experimental psychology. He would be better advised to abandon exact science, put away his scholar's gown, bid farewell to his study, and wander with human heart throught the world. There in the horrors of prisons, lunatic asylums and hospitals, in drab suburban pubs, in brothels and gambling-hells, in the salons of the elegant, the Stock Exchanges, socialist meetings, churches, revivalist gatherings and ecstatic sects, through love and hate, through the experience of passion in every form in his own body, he would reap richer stores of knowledge than text-books a foot thick could give him, and he will know how to doctor the sick with a real knowledge of the human soul. -- Carl Jung Freud said that the goal of therapy was to make the unconscious conscious. He certainly made that the goal of his work as a theorist. And yet he makes the unconscious sound very unpleasant, to say the least: It is a cauldron of seething desires, a bottomless pit of perverse and incestuous cravings, a burial ground for frightening experiences which nevertheless come back to haunt us. Frankly, it doesn't sound like anything I'd like to make conscious! A younger colleague of his, Carl Jung, was to make the exploration of this "inner space" his life's work. He went equipped with a background in Freudian theory, of course, and with an apparently inexhaustible...
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...Stereotype vs. Archetype: A Watchmen vs. Kingdom Come Essay In Moore’s graphic novel Watchmen, Alan Moore destroys the concept of bright proper superheroes by introducing characters in Watchmen that are faulty and human. Kingdom Come is a similar novel that takes inspiration from Moore’s Watchmen while having it’s own unique characteristics that sets it apart. The superheroes that we see in Watchmen and Kingdom Come are heroes and/or vigilantes whose actions are seen as understandable but not morally justified. Rather than write the traditional archetype of the high-morale superheroes of the early to mid 1900s, Moore instead parodies the stereotypical superhero genre, by writing about the character’s philosophical warped views of society,...
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...Symbolism in The Thing in the Forest In the story “The Thing in the Forest” by A.S. Byatt, the two protagonists, Penny and Primrose, are on an almost forced journey towards adulthood, after being separated from their mothers. Their imaginations save them from the tortures and terrors of a world in distress, keeping their innocence for as long as they can. An interesting thing about the story is that it is a fairy tale that provides any type of reprieve from real world problems and then replaces the realistic issues with archetypes. This story is filled with so many great symbolic moments. At the start of the story the author creates a very vague statement that interest the reader: “Penny and Primrose, saw or believed they saw a thing in the forest.”(Byatt 324). Although this statement is vague, it keeps the reader wanting to know more. A form of symbolism used is that the narrator makes a distinction between a child’s mind and an adult’s mind. How would you say to your child, “I am sending you away, because enemy bombs are falling out of the sky, but I myself am staying here…” When the two girls are...
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...lamb in there, have at it, it should be cooked all the way. Mary, still devastated over her marriage ending, still shows no grief. She was worried about others well-being, how much more generous can a person be? Contrary, Mary also can be seen as a wicked, diabolical, evil woman. In the story Mary resorts to violence after hearing the bad news. ‘’ Mary went into the deep freezer, got the lamb, and then hit him in the back of the head with it, knocking him out cold. Getting revenge is one thing, but taking a life should never be the choice. Mary descended from being a loving, devoted, and generous wife to being diabolical, sneaky, and wicked woman. Mary is the archetype of a matriarch. She is pregnant with a child, loved Patrick no matter what, and takes care of everything around the house. Mary went from being an innocent, caring wife to a murderer because her life took a drastic downfall when Patrick decided to have an affair and leave her. As said in the intro, you always hurt the ones you love the most. Despite the many efforts of relatives, sometime families just reach the boiling or freezing point. ...
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...In the age of Netflix and live streaming for TV shows, people have more means than ever to watch their favorite dramas, comedies, and reality shows. Yet with all of this advancement, the protagonist archetype has changed only slightly. In Robert B. Ray’s article, “The Thematic Paradigm”, he discusses the qualities of two versions of movie heroes viewers know and love: the official hero and the outlaw hero. The official hero embodies the qualities of an outstanding citizen; he is a law abiding, morally grounded “family man” (Ray 451). In contrast, the outlaw hero is more interested in redefining laws that encumber moral standards than settling down, and often partakes in childish acts of rebellion (Ray 451). Both heroes appeal to qualities many Americans can see within themselves, and despite their differences, the self-indulgent nature of most Americans inhibits viewers from choosing one version of hero...
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...approach to violence and morality in God and the Devil in the Land of Sun. Glauber Rocha’s purpose as a filmmaker, as he explains, has always been to contribute to the creation of a cinema that is genuinely Brazilian, based on national features, which can facilitate the social and political awareness required for the transformation of Brazil as a country. In the course of forming an identity for a new national cinema, which sought to deviate from the conventions of the Hollywood model, Glauber Rocha often employs themes such as hunger, violence and morality. These, in their most true-to-life forms, consolidate the harshness of the reality that permeates Brazil, particularly the Northern area, and differentiates from the idealistic American archetype. Notably in his film ‘God and the Devil in the Land of the Sun’ the aesthetics of violence and hunger is connected with the transformation of an established order or situation. The formula for this violence is different, in terms of its realisation, from the ones that are evident in American movies, where there is a strong emphasis on the confrontation between good and evil and a tendency to depict characters with supernatural capabilities. In Glauber Rocha’s film, violence is part of a social process; it is historically conditioned by the horror, the calamity and the crisis that pervades the north-eastern part of Brazil. The film is a sort of investigation or criticism of this area, and throughout its length Glauber captures the...
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...The Dominance of Fate Fate was of great concern to the Greeks, and its workings resonate through many of their myths and texts. We see countless characters who go to great lengths in attempts to alter fate, even if they know such an aim to be futile. The inability of any mortal or immortal to change prescribed outcomes stems from the three Fates: sisters Clotho, who spins the thread of life; Lachesis, who assigns each person’s destiny; and Atropos, who carries the scissors to snip the thread of life at its end. These three divinities pervade all the stories of Greek myth, whether they be stories of gods, goddesses, demigods, heroes, or mortals and regardless of the exploits recounted. Nothing can be done to alter or prolong the destiny of one’s life, regardless of the number of preparations or precautions taken. This inflexibility applies just as much to Zeus as to the lowliest mortal, as we see in Zeus’s hounding of Prometheus to divulge the name of the woman who will bear the offspring that one day will kill him. Though this lesson is somewhat consoling—the way of the world cannot be bent to match the whims of those in authority—it is also very disturbing. The prospect of free will seems rather remote, and even acts of great valor and bravery seem completely useless. The myths provide an interesting counterpoint to this uselessness, however. In virtually all the stories in which a character does everything in his power to block a negative fate, and yet falls prey to it,...
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...Lady Macbeth found via Google - not my own work In typical Shakespearean tragedies, female main characters aren't always treated brilliantly. In Hamlet, Ophelia goes down the "I shall obey, my lord" route. In Othello, Desdemona goes down the "To you I am bound" route. Yet in Macbeth, this isn't quite the case. The most important female figure is Lady Macbeth, a cunning and manipulative woman who is associated with the supernatural. Instantly it can be argued that Lady Macbeth fits in with the later idea of certain Gothic women being 'sinister predators', or 'femme fatales'. | Dame Ellen Terry as Lady Macbeth | Lady Macbeth has been the subject of much debate for hundreds of years. Her role in the play is incredibly important and she is the subject of various interpretations. Her first appearance in the play is in act one, scene five. She opens by reading Macbeth's letter; instantly this seems to present her as a typical Shakespearean woman (when I say typical, I mean typical in terms of main female characters in tragedies being passive), since her first words are that of her husband's, as though she is bound to him. Then she stops reading the letter, and we start to realise that she isn't at all typical. She instantly states that Macbeth will be "what thou art promised", which shows a determination and strength of will that we may not have been expecting. She goes on to criticise her husband's nature, since he is "too full o'th'milk of human kindness". A wife...
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