Archetypal Criticism

1. Archetypal Criticism ENG 4U

2. Carl Jung • Carl Jung was Sigmund Freud’s student. His theory of archetypes emerge, in part, from Freud’s early work. Jung Freud  

3. From sexual urges to Archetypes • Sigmund Freud and Carl Jung were both interested in the role of the unconscious mind. • They quickly formed a strong bond as friends and colleagues. Jung even looked up to Freud as a father figure until there came a fork in the road.   • Freud held strong to his belief that sexual urges were "the" driving force behind human behaviour.  Jung strongly disagreed and felt there were other forces, such as religious beliefs, the drive for power and the need for approval.  

4. Archetypes • After diving into the depths of his psyche, Jung discovered what he coined "The Collective Unconscious." •  According to Jung, our unconscious mind is influenced by our personal experiences and the collective experiences of ALL people. •  Jung found similar patterns of human behaviour in history, religion and culture.

5. Archetypes • Jung said that an archetype is “a figure...that repeats itself in the course of history wherever creative fantasy is fully manifested.” • He believed that human beings were born innately knowing certain archetypes. • The evidence of this, Jung claimed, lies in the fact that some myths are repeated throughout history in cultures and eras that could not possibly have had any contact with one another.

7. Universal Myths • Many stories in Greek and Roman mythology have counterparts in Norse, Celtic, Chinese, African, and Native American mythology (long before the Greek and Roman Empires spread to Asia, northern Europe, and the Americas).

8. Greek

9. Norse

10. Celtic

11. Asian

12. African

13. Creation Myths • Throughout history, myths have represented ideas that human beings could not otherwise explain (e.g. the origins of life, what happens after death, etc.) • Every culture has a creation myth, a story, a life after death belief, and a reason for human failings, and these stories—when studied comparatively—are far more similar than different.

14. Greek Uranus and Gaia Iroquois Sky Woman AfricanBushman Judeo-Christian Adam and Eve JapaneseIzanagi and Izanami Australian Aborigine The Father of All Spirits and the Sun Mother

15. Patterns in literature • When reading a work, literary critics look for general recurring themes, characters, and situations.

16. In modern times, the same types of archetypes are used in film, which is why it has been so easy for filmmakers to take a work like Jane Austen’s Emma and adapt it into the typical Hollywood film Clueless.

17. By drawing on those feelings, thoughts, concerns, and issues that have been a part of the human condition in every generation, modern authors allow readers to know the characters in a work with little or no explanation.

18. Three Archetypal Categories Archetypal Characters Archetypal Images Archetypal Situations

19. archetypal characters

20. the hero • A figure, larger than life, whose search for self-identity and/or self-fulfillment results in his own destruction (often accompanied by the destruction of the general society around him). • In the aftermath of the death of the hero, however, is progress toward some ideal.

21. the hero

22. The Scapegoat • An innocent character on whom a situation is blamed, or who assumes the blame for a situation. He/she is punished in place of the truly guilty party, thus removing the guilt from the actual culprit and society.

23. The scapegoat

24. The Loner or outcast • A character who is separated from (or separates him or herself from) society due to a physical impairment or an emotional or physiological realization that makes this character different. • Often the Hero is an outcast at some point in his or her story.

25. The Loner or outcast

26. The temptress • The female who possesses what the male desires and uses his desire as a means to his ultimate destruction

27. the temptress

28. The mentor • Mentors serve as teachers or counselors to the initiates. Sometimes they work as role models and often serve as a father or mother figure.

29. The MeNtor

30. The Trickster • The trickster, in later folklore or modern popular culture, is a clever, mischievous person or creature, who achieves his or her ends through the use of trickery. • A trickster may trick others simply for their amusement, they could be a physically weak character trying to survive in a dangerous world, or they could even be a personification of the chaos that the world needs to function.

31. the trickster

32. Archetypal IMages

33. colours • Red = blood, passion, anger, violence • Gold = greatness, value, wealth • Green = fertility, luxury, growth • Blue = freedom, God-like holiness, peace, serenity • White = innocence, purity, youth

34. numbers • 3 = the Christian trinity • 4 = the four seasons; the four ancient elements • 12 = the months of the solar year, etc.

35. water • The source of life and sustenance • Cleansing or purification • Baptism

36. shapes • Triangle = trinity • Circle = perfection and eternity

37. celestial bodies • Sun = masculine, both giver and destroyer of life • Moon = feminine, marks the passage of time and controls the course of human events, seedtime, harvest.

38. archetypal situations

39. The quest • The hero’s endeavor to establish his or her own identity or fulfill his or her destiny.

40. renewal of life • Death and rebirth, resurrection as seen in the cycle of the seasons, the phases of the day, sleeping and waking.

41. initiation • Coming of age, rites of passage.

42. the fall • Any event that marks a loss of innocence, a devolution from an ideal life and viewpoint to a tainted one.

43. redemptive sacrifice • Any voluntary loss, especially a loss of life, that results in another’s gaining or regaining a desired state.