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Archetypes are a common theme in many ancient mythologies across the world, and have become a common characteristic in modern day pop culture. A popular archetype is the Trickster, which has a strong influence in the popular T.V. show Supernatural. The trickster archetype in Supernatural is similar to the tricksters Loki in the Prose Edda and Prometheus in Roman culture because they share similar powers, they experiences a battle of wits with the gods, and the outcomes of the trickster’s deeds lead to their punishment. The trickster in Supernatural is also very similar to the god trickster Loki in the Prose Edda because of their relationship between the other gods. The show Supernatural revolves around the lives of two brothers Sam and Dean. Sam and Dean are hunters of all things mythical, evil, or supernatural. When the pair first meet the Trickster in the show, he is disguised as a janitor at a university (Shiban, John). Unbeknown to the brothers, he is wreaking havoc on the school and the town through a series of dangerous jokes and tricks. The trickster in Supernatural is eventually identified as a demi-God, Loki who is very similar to the Norse god Loki in the Prose Edda. They share the power to conjure images and imaginary events up, just for the fun of it. The trickster is able to rebuke Sam …show more content…
and Dean's attempts to kill him by conjuring a slew of chainsaw maniacs and scantily clad women to throw at the brothers. However, once the Sam and Dean are defeated by the task through pure frustration, the world and the tasks that they are partaking in completely disappear and so does the trickster. In addition, both these incarnations of Loki have the ability to shape shift and change their appearance at will to confuse humans and the other gods. Prose Edda Loki is able to change his identity to a salmon in his attempt to hide from the gods, as well as an old woman to trick the gods into killing the beloved Baldr. These similarities enhance the shared commonalities between ancient mythology and modern day pop culture. Additionally, both the Norse God Loki and Supernatural's modern day Loki, will partake in a battle of wits with the other gods, which only serve to prove their sub-par status among the gods. Further along in Supernatural, Christianity is introduced as a heavy influence to the show. It is later revealed that the demi-god Loki also stands in the role of the Christian arch-angel Gabriel in disguise (Carver, Jeremy). Gabriel, similar to Loki in the Prose Edda, is considered a joke among the other gods and angels. In a battle of wits that begins between the Trickster Loki/Gabriel and his brother, the arch angel Lucifer, it is told that Gabriel is the most disliked son by their Father, God himself (Reed, David). This begins the battle of wits similar to the battle in the Prose Edda, between the supposed trickster Pagan god Loki/Gabriel and the Christian arch-angel Lucifer. The trickster uses his powers to create a doppelganger of himself who is having a conversation with Lucifer, while the real trickster sneaks behind Lucifer to stab him. However, Lucifer is smarter than the trickster and turns around in time to stab Loki/Gabriel first. The death of Loki/Gabriel enforces the ongoing motif of many pagan mythologies, which introduce Christianity as a superior culture to their own. The death of the trickster god in Supernatural places pagan mythology, as well as the god Loki, at a sub-par status to the western world and culture. Both Loki in the Prose Edda and Supernatural are seen as a lesser being to the other gods, and in the end will inevitably lose to their superior counterparts, the way Loki in the Prose Edda was capture by Thor and his comrades and chained to a rock. Each Loki and Trickster god in mythology and modern culture are punished for their deeds. The Roman mythology of Prometheus is similar to both these gods because he also experiences a battle of wits with the gods and is punished. Prometheus was a fore thinker who partook in a battle of wits between himself and the famous Greek god, Zeus. He is similar to Loki in Supernatural because he attempts to trick Zeus on the behalf of the mortal realm. Loki in Supernatural believed that the human race was superior to the gods and deserved to be saved from the havoc Lucifer was about to release upon the world (Reed, David). If he was able to kill Lucifer then he could ultimately save the mortal race from the destruction that was about to take over the world. However, both tricksters entered a battle of wits with the gods. Prometheus tricks Zeus by offering him a pile of bones wrapped in fat and a second pile of flesh wrapped in hide, Zeus chooses the bones wrapped in fat. Zeus is angered by this treachery, so as a punishment he takes fire away from mankind. Prometheus is the most cunning of all mankind and steals fire back for them. Zeus is enraged, and as a way to prove the superiority of the Gods he captures Prometheus and punishes him for his trickery and loyalty to mankind. This is similar to the trickster Loki/Gabriel in Supernatural, that by disobeying the gods and placing loyalty in mankind they are then punished. Loki/Gabriel in Supernatural is killed, while Prometheus is chained to a rock in the underworld. This enforces the stereotype in ancient mythology as well as modern day pop culture that the Gods are ultimately superior to the trickster and in the end will punish the trickster for his deeds and loyalty to mankind. These different incarnations of Tricksters found across many different cultures, both modern and ancient, have a common theme.
The Tricksters main job of joking usually ends up upsetting the god in some way. The Tricksters are seen as inferior creatures to the gods themselves. At some point in the story the Trickster will engage himself in a battle of wits with the gods. However, for each Trickster archetype across all stories, the battle of wits usually becomes their undoing, and they are punished by the gods for their deeds. This defeat of the Trickster only solidifies the power of the gods as well as the perceived superiority of the Christian religion to Pagan
ones.
The different archetypes are the shadow, the mandala, the great mother, the transformation, the hero, the spiritual father, and the trickster. All archetypes were drawn from a part of what makes us human and hidden in our subconscious. Many of the characters in the film often play more than one character. An example of this would be Ben Kenobi seems to play the archetype of Luke’s father, then he also plays the archetype as an old, wise man.
The book Speak by Laurie Anderson is about how Melinda Sordino--- an “outcast” girl overcome the trouble in her life, her growth in mind and how she learned to speak up for herself.
Glasspell, Susan Trifles. Backpack Literature: An Introduction to Fiction, Poetry, Drama, and Writing 4th Ed.
Ethan Frome by Edith Wharton is designed to be read like a fairytale. The novel contains many archetypes of a classic fairytale. These archetypes are brought to life in Starkfield, Massachusetts by the three main characters: Mattie Silver, Ethan Frome, and Zeena Frome. They can be compared to the archetypes of the silvery maiden, the honest woodcutter, and the witch. These comparisons allow the reader to notice similarities between Edith Wharton’s Ethan Frome and the classic fairytale Snow White. The character Zeena Frome from Edith Wharton’s novel, Ethan Frome, resembles the evil witch from the fairy tale Snow White.
Everyone can relate to an archetype character in a movie, book, or television show. An archetype in literature is a typical character with an action or a situation that seems to represent such universal patterns of human nature. Common archetypes of characters are: a hero, caregiver, rebel, damsel in distressed, lover, villain, or tragic hero. In the play, The Crucible, there are several kinds of characters with archetypes. Tragic hero normally are in tragic plays which also can be called tragedy. “Tragedy is a drama in which a character that is usually a good and noble person of high rank which is brought to a disastrous end in his or her confrontation with a superior force but also comes to understand the meaning of his or her deeds and to
Quite often in life we wish for things bigger than ourselves. Seeming to get wrapped up in our own minds we do not pay attention to reality. As reality comes full force we are not sure how to take it, so we let it take us. In the writing “Where are you going, where have you been?” we see Oates craft archetypes and allegories into the work through detail and word choice in order to help the reader understand the shocking outdistancing of day dreams and the overshadowing sockdolager called reality. These archetypes and allegories provide a way for the reader to join Connie in the story, but also to see the danger of what Connie doesn’t see.
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?”,
... typical archetype. These characters are obviously supposed to mirror the archetypes that are common in fairy tales, but their flaws are contradictions to the archetypes that they are supposed to represent; through this Goldman mocks typical and standard fairy tales.
Some examples of archetypes are, the wounded child, the victim, the villain, the rebel, the savior, finding redemption, death, and the happy ending. Now that there is an understanding of what an archetype is we can look at four different archetypes in The Bell Jar.
The author of One Flew over the Cuckoo 's Nest, allows the reader to explore different psychoanalytic issues in literature. The ability to use works literature to learn about real world conflicts allows us to use prior knowledge to interact with these problems in reality. Ken Kesey, the author of the above novel and Carl Jung, author of “The Archetype and the Collective Unconscious” wrote how the mind can be easily overtaken by many outside factors from the past or present. The novel takes place in an asylum that is aimed to contain individuals that have a mental issue or problem. The doctors and care takers are seen as tyrants and barriers that inhibit the patients to improve their health, while the patients are limited by their initial conditions
A archetypal fits into folklore many different ways, it depends on what the folklore is talking about. But you can add an archetypal to folklore.
Throughout this play religion is constantly mocked. The Devil and God are pretty buddy buddy. I mean they make bets, they have casual conversation (lines 275-302) They are just kind of friends. I am not the most religious person, but I know that the Devil and God are not friends. They do not talk, make bets, or hang out together. An obvious mocking right there. Also it seems that the powerful Devil is not powerful at all. He is repeatedly outsmarted by a mere mortal (line 2715) and has many limitation. If you grow up going to church and being taught religion you are under the impression that the Devil is so powerful, always tempting us mortals and finally buying our souls. God and the Devil are made fun of by showing how much little power they have. God over the Devil and the devil over mortals.
Archetypes have been around for thousands of years, dating back to at least Plato discussing his “Theory of Forms”. In a literary contexts we think of archetypes such as the hero, the mentor, the journey, or the initiation. When looked at from these perspectives it appears that there is nothing original to write about, but these archetypes are used over and over with much success. The reason is because the writer and the reader empathize with the archetypes. Take for example the Initiation archetype, also called the Coming of Age story, in it is the struggle of the young against the old in an attempt to obtain individuality, and freedom that reflects what Jungian psychologists call, a “father complex”, a type of subset to the oedipus complex, in the authors.
But there is another side to the trickster. As David Leeming notes, "he is sexually over-active, irresponsible, and amoral. But it is that very phallicism that signifies his essential creativity" (God 24). Tricksters are also creative liars. They lie in order to obtain sex or food, or the means to cook or procure food. Many of their tricks originate in this quest for food or sex. Lewis Hyde writes, "Trickster lies because he has a belly, the stories say; expect truth only from those whose belly is full or those who have escaped the belly
Even thought there is not a commonly agreed single definition for a trickster, Hydes and Hynes find common ground in saying that a trickster is someone who deceits, tricks , takes advantage of situations and certainly-among other things, disobeys normal rules. A trickster breaks the rules more often maliciously, as Loki for example; however, at the end usually the tricks end up having positive effects. Hynes mentions six characteristics most often found in the trickster. Even though not all of them are always present, in the film “Identity Thief” (2013) Diana (Melissa McCarthy) shows a few of these traits explained by Hynes.