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In Literary Criticism, there is an idea that believes that Archetypes make up literature’s meaning. The concept of Archetypes in literature has been the subject of extensive examination in Literary Criticism. “Criticism can be broken down into two broad categories: evaluative and interpretive” (Gardner 1287). The criticism is based on Literary Theory, which is composed of ideas that help interpret, and analyze literature. Everything in literature has a meaning, and many different people came up with strategies to evaluate and interpret it. The use of Archetypes in Literary Criticism helped critics to interpret a text, and find its hidden meaning. In Archetypal Literary Criticism, archetypes hold the idea that cultures, folk- tales, and common mythical beings all play a role in a text’s significance.
Carl Jung, a psychoanalyst, came up with the idea of archetypes while studying the human psyche, and interpreting dreams. Jung was born in Kesswil, Switzerland on July 26, 1875. In the beginning of his studies, Jung collaborated with Sigmund Freud, the creator of psychoanalysis, and they both analyzed the language in dreams, which are basically just symbols. Jung claimed that behind symbols lie archetypes. “We meet dragons, helpful animals, and demons; also the Wise Old Man, the animal-man, the wishing tree, the hidden treasure, the well, the cave, the walled garden, the processes and substances of transformation in alchemy, and so forth-all things which in no way touch the banalities of everyday. The reason for this is that they have to do with the realization of a part of the personality which has not yet come to existence but is still in the process of becoming”(Jung 467). Archetypes represent practically
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Frye, Northrop. "The Archetypes Of Literature." The Myth and Ritual Theory an Anthology. Malden, Mass. [u.a.: Blackwell Publ., 1998. 218-30.
Gardner, Janet E. "Literary Criticism and Literary Theory." Literature: a Portable Anthology. Boston: Bedford/St. Martin's, 2009. 1287-296.
Jung, C. G., and Laszlo Violet S. De. The Basic Writings of C.G. Jung. New York: Modern Library, 1993.
Kharbe, Ambreen. "Archetypal Criticism." English Language and Literary Criticism.
New Delhi: Discovery Pub. House, 2009. 327-40.
Munafo, Robert P. "Archetypes in Literature at MROB." The Published Data of Robert Munafo at MROB. Creative Commons Attribution. 12 Oct. 2011. .
Sutton, Walter E., and Richard Jackson Foster. "Maud Bodkin." Modern Criticism, Theory and Practice. New York: Odyssey, 1963. 208-221
In the Jungian analysis of a character, there are three archetypes that must be considered. Carl Jung believed that the three archetypes that made up a person are the shadow, the anima or animus, and the persona (Dobie 64). In “Reading the Brothers Grimm to Jenny,” the narrator first introduces readers to Jenny’s shadow and animus. Jung saw the shadow as a human’s “darker side,” and the “part of ourselves we would prefer not to confront” (Dobie 64). Whereas the animus or anima is the “the life force within an individual,” and “life itself and the
An archetype, according to Literary Terms, is an idea, symbol, pattern, or character-type, in a story that appears again and again in stories from cultures around the world and symbolizes something universal in the human experience. There are symbolic, character, and situational archetypes. The Glass Castle, a memoir by Jeannette Walls, uses each archetype. The memoir captures Jeannette’s difficult life growing up due to her father’s alcoholism and inability to hold a job. These archetypes also play a crucial role in developing the novel’s theme. A central theme to the novel can be perseverance. Jeannette and her siblings grew up and managed to build a better life for themselves. They worked hard and never gave up, demonstrating perseverance.
An archetype is a universal symbol. It is also a term from the criticism that accepts Jung’s idea of recurring patterns of situation, character, or symbol existing universally and instinctively in the collective unconscious of man. Archetypes come in three categories: images (symbols), characters, and situations. Feelings are provoked about a certain subject by archetypes. The use of the images of water, sunsets, and circles set the scene of the movie. Characters, including the temptress, the devil figure, and the trickster, contribute to the movie’s conflicts that the hero must overcome in order to reach his dream. However, to reach his dream, the hero must also go through many situations such as, the fall, dealing with the unhealable wound, and the task. By using archetypes in the movie, the viewer can obtain more than just the plot and better understand the true theme of the movie: to never give up on dreams.
Carl Jung was a Swiss psychologist and psychiatrist who developed many theories concerning the unconscious mind. Jung’s theories state that the unconscious part of a human’s psyche has two different layers, the personal unconscious and the collective unconscious. The personal unconscious is unique to every individual; however, the collective unconscious “is inborn.” (Carl Jung, Four Archetypes, 3) The collective unconscious is present in everyone’s psyche, and it contains archetypes which are “those psychic contents which have not yet been submitted to conscious elaboration” (Jung, Archetypes, 5); they are templates of thought that have been inherited through the collective unconscious. Jung has defined many different archetypes such as the archetype of the mother, the archetype of the hero, the archetype of the shadow, etc. These Jungian archetypes are often projected by the collective unconscious onto others. If the novel A Prayer for Owen Meany by John Irving is examined through a Jungian archetypal lens it is possible to discern different archetypes projected by the protagonist’s unconscious self to illustrate the effects of the collective unconscious on character and plot analysis.
An archetype in literature is defined as a typical example of a certain type of person. A character in a poem or play can be placed into many different archetype categories. Archetypes help a reader to gain a better understanding of who a character in the work is on the inside. This deeper insight into the character allows the reader to follow the flow of the story easier and more effectively. There are many different archetypes that can help to advance the story. One of the most useful in advancing this story is the typical powerful character. Whether it be supernatural or cunningness this character always comes out on top in the situation and holds the most control over others and their actions. “Where Are You Going, Where Have You Been?”,
Archetypes are found in every story that has been told; although stories may seem unique in their premise, every single story is actually interconnected in several ways by archetypes. Recurring themes are found in stories with even the most dissimilar settings and protagonists. In “Momotaro: Boy-of-the-Peach” and “Theseus”, several of the same archetypes are found, though the protagonists possess different goals and experiences. These archetypes include a valiant hero, an evil villain, and the hero undergoing a quest to defeat this villain. The “hero” archetype is especially prevalent among media.
Swiss psychiatrist Carl Jung penned Psychology of Dementia Praecox in 1907 in which he discussed about the Freudian concept of psychodynamic thoughts, however he incorporated new analysis and fresh research alongside the Freudian literatures. In his discussion, he included new concepts like wholeness of psyche; individual is composed with ego, collective unconscious, archetypes which are composed of tension that comes from spontaneity, recognizing the spiritual side of the human psyche (Ballen, 1997).
Archetypes refer to the persistently recurring symbols or motifs in literature. The term itself has its origins in ancient Greek and continues to play a prominent role in analyzing literature. Archetypal images and story patterns encourage readers to participate ritualistically in basic beliefs, fears, and anxieties of their age. These archetypal features not only constitute the eloquence of the text but also tap into a level of desires and concerns of civilization. The Anglo-Saxon poem, Beowulf, translated by Seamus Heaney, integrates many of the common archetypes that still exist today. The outcast archetype is one that particularly expressed the desires, anxieties and values of the people who lived during the Beowulf era. Grendel, a character of monstrous appearance and hazily human emotion, is portrayed as the principal outsider in Beowulf. The incorporation of a banished character against his fellow society effectively expressed the anxiety and fears that the Anglo-Saxon culture felt towards seclusion and abnormality, caused by a societal absorption in family lineage and traditionalism.
Furthermore, Campbell explained such patterns by using Carl Jung's theory of the collective unconscious, which he was strongly influenced with. Psychological organs that developed through the evolution, is the idea Jung gave of archetypes (Jung 81). To him they are recurring patterns, images and ideas which all humans inherited in their unconsciousness (Volgar 23). In addition, Campbell described his theory as a reoccurring cycle of pattern consisting of three phases: Departure, Initiation and Return, which he calls The Monomyth (Campbell 28), a deep inner journey of transformation that every hero must go through in order to grow (Voytilla vii).
Discovering the meaning and significance of the archetypes in one’s dreams and the dreams themselves were a sort of process that helped lead the individual towards a God. The suffering and process of analyzing the dreams and manifestations of the archetypes was crucial to resolving one’s entire unconscious and thus being at peace with oneself. When this peace was achieved, it allowed the individual to further their religious experience. Jung believed that all humans had a natural religious function and the expression of their unconscious through archetypes and dreams was crucial.
The first theory to be discussed is structuralism, this theory is composed of many different branches. The branches that this paper will be looking into is archetypes. The definition of of archetype is typical images, characters, narrative designs and themes and other literary phenomena. Archetypes have their own form of criticism that is called archetypal criticism. Archetypal criticism means the generic, recurring and conventional elements in literature that cannot be explained through historical influence or tradition.
Jung agrees with Freud and his thought process of the structural constructs, he disagrees with there only being three parts of the unconscious mind. Jung’s structural construct of the psyche is more in-depth than Freud’s. Jung uses the similar basic construct of Freud and agreeing with the differences in the types of consciousness in the mind. Jung uses the ‘shadow’ instead of the id which is the unknown concepts of one’s personality and the unknown choices that we make based upon good and evil side of everyone. In other words, our shadow which resides in our unconscious mind are the ‘skeletons in our closet’ which can be described as the unwanted and the rejected thoughts that we have by our ego and our
Jung, C. G., and Marie-Luise Von Franz. Man and His Symbols. Garden City, NY: Doubleday, 1964.
Cal Jung, Man and his Symbols (NY: Doubleday, 1964) Part 4 by Aniele Jaffe, esp. p. 264
Literary criticism is used as a guideline to help analyze, deconstruct, interpret, or even evaluate literary works. Each type of criticism offers its own methods that help the reader to delve deeper into the text, revealing all of its innermost features. New Criticism portrays how a work is unified, Reader-Response Criticism establishes how the reader reacts to a work, Deconstructive Criticism demonstrates how a work falls apart, Historical Criticism illustrates how the history of the author and the author’s time period influence a text, and last of all, Psychological Criticism expresses how unconscious motivations drive the author in the creation of their work as well as how the reader’s motivations influence their own interpretation of the text (Lynn 139, 191). This creates a deep level of understanding of literature that simply cannot be gained through surface level reading. If not one criticism is beneficial to the reader, then taking all criticisms or a mixture of specific criticisms into consideration might be the best way to approach literary