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Psychoanalytic theory
Strength and the weakness of Carl Jung's psychodynamic theory
Freud's psychodynamic theory of personality
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Psychoanalysis is the theory that attempts to explain how the mind functions, looking at the interactions between the conscious and the subconscious. Psychoanalysis is primarily based on the works of Sigmund Freud and his version of the study is called Freudian Theory, or Personality Theory. Freud believed the subconscious had three main parts: the Id, the Ego, and the Superego, and that the subconscious developed during childhood. Carl Jung, one of Freud’s students, disagreed with the notion that the subconscious was completely developed in childhood, and went on to create his own version of psychoanalytic theory. Jung argued every person’s subconscious is formed of the ego, the personal unconscious – which was basically Freud’s unconscious, …show more content…
Shakespeare uses characters that fit into archetypal roles because this allows the audience to connect with the play more, as they understand the character archetypes because, as Jung believes, they are part of the collective unconscious. Shakespeare primarily uses archetypes in order to create a more universally relatable play that will stand the test of time, able to be understood and interpreted by anyone who watches, while also creating depth by changing characters’ archetypes throughout the story or revealing their hidden …show more content…
Prospero is the protagonist of the play, and multiple details put him in the spotlight as the righteous party in the play. Tuğlu states that “it is not a coincidence that Prospero [...] has the ability to control the island under his own desires”, as Prospero gives a powerful, controlling speech that sets him up as the hero (63). One part of this speech gives the reader a clear definition of how Prospero is the hero includes his history as the Duke of Milan. He tells Miranda that he was once the Duke, and that his brother could not just outright kill him to take over because “So dear the love of [his] people” for him. This tells the reader that Prospero was a just Duke, as his citizens would not let him be executed, even while he was being removed from the position in an uprising. The love his people held for him lets the reader know that Prospero is a
Prospero is a very powerful man who is out for revenge. At this point in the play, and in his life, he seems to only care about himself and his daughter. He is bitter at the loss of his Kingdome from his own family and she has been the only one who is there for him which isn’t exactly by choice. It is easy to see how hurt he is from what has been done to both him and his daughter. For the first time he is telling Miranda about the journey that led them to the island, “I pray thee, mark me /I thus neglect worldly ends, all dedicated / To closeness and the bettering of my mind” (1.2.107-110). While he is telling his daughter this story he is making sure he is being seen as innocent, saying he was just trying to better himself when this happened.
In the comedic, yet thrilling play, The Tempest, William Shakespeare uses characters such as Caliban, Alonso, and Ariel to show Prospero’s immense cruelness and pure monstrosity. Moreover, these Shakespearean characters are also used to highlight Prospero’s change in character into a kinder and more forgiving person. Prospero starts the play out as a vengeful monster, after an illuminating moment however, his persona transforms into his true identity of a compassionate man.
The Tempest, is a timeless play about Prospero getting justice by having his throne back. William Shakespeare uses various dramatic elements to help readers deepen their understanding of the text in the play. The archetype critical theory can be used when reading Act 1, Scene 2 of The Tempest, for enhancing the reader’s understanding of the play. The archetype critical theory is patterns that are universal and have been applied to literature. These archetypes are present in the symbols, imagery, allusions, and dramatic irony of the scene.
In Shakespeare’s play, The Tempest, the character Prospero embarks on a journey of self discovery, undergoing a transformation that allows him to achieve a renewed perception of himself and others Prospero who was initially a duke, but later overruled by
Throughout William Shakespeare’s Othello, many different archetypes that commonly associate with readers are found all throughout the story. These different archetypes include situational, character, and symbolic types. A common situational concept in Othello is the unhealable wound represented by the character Othello, the character archetype being the scapegoat represented by Cassio, and the symbolic archetype being the handkerchief Othello gives to Desdemona which represents trickery and deceit.
He takes advantage of his authority over the people and situations he encounters while wearing a facade of integrity and compassion to disguise his wily intentions and to retain love and respect. In Act I of the play, Prospero finally tells Miranda the woeful story of how she and he arrived on the island. From the beginning, Prospero plays his subjects and his sympathetic audience as pawns in his game of manipulation. He explains that twelve years ago he was the Duke of Milan, but being enthralled with his studies, he left most of the governmental responsibilities to his brother Antonio. Antonio, hungry to be "Absolute Milan" himself (1:2, p.6), proceeded to betray him with the help of King Alonso of Naples.
Sigmund Freud, an Austrian neurologist, was the principle proponent of the psychoanalytic personality theory. Psychoanalytic personality theory is tells us that the majority of human behavior is motivated by the unconscious, a part of the personality that contains the memories, knowledge, beliefs, feelings urges, drives, and instincts that the individual is unaware, and that only a small part of our psychological makeup is actually derived from the conscious experience. The problem is our unconscious mind disguises the meaning of the material it contains. As such, the psychoanalytic personality theory is ver...
Having been usurped and wrecked on an Island Prospero and his young daughter Miranda have to settle. It is here in Prospero's past that it first clear to see where any confusion about his character may appear. As a learned and powerful man Prospero is able to take direct control of the island, he frees a trapped and tortured spirit (Ariel) and befriends the inhabitants (Caliban). Prospero 'helps' Caliban, he tries to educate him and teaches him to communicate, in exchange Caliban helps Prospero to survive on the Island. But in taking power of the Island Prospero is committing the same act that happened to him as Duke of Milan, now Prospero himself has become the usurper. In this act of goodness Prospero has unknowingly shown his evil side.
...rother and open to sibling rivalry and betrayal, the bond of the new Milan is father-to-daughter. By advancing Miranda Prospero does advance himself, in that she is and will produce his legacy, but he also advances her of her own accord, as an act of love. The latter is the more virtuous, closer to the idyllic Milan Prospero would have shared with Antonio and the paradise that Gonzalo proposes to the shipwrecked party. Prospero summons the tempest to effect the calm that will follow, knowing the pieces will settle where he wants them.
While Prospero is in Milan he has the divine right to govern and is a
This time however, Prospero used his daughter as bait in order to draw Ferdinand closer in the hopes of getting them married. He wants to regain his title as the Duke of Milan. Prospero presents himself as a victim of injustice, however his belief of justice and injustice is somewhat contradicting. He takes advantage of this authority over other people and situations he encounters while using his integrity and compassion to mask his dangerous plans and to retain love and respect. The Tempest in the end suggests that love and compassion are more effective political tools than violence, hatred or even abusive magic.
Sigmund Freud was a pioneer within the field of psychology who developed multiple theories that introduced the world to the inner meanings of the human unconscious. He created the theory of psychoanalysis, which allowed him to enter the world of the unconscious mind. He also proposed that humans go through a transition of various psychosexual stages, each level containing a different drive and desire. These urges were governed by the three components of the mind: the id, the ego, and the superego. He also believed that humans create defense mechanisms in order to drive away anxiety, guilt, and depression. However, he believed his greatest work resided within his interpretation of dreams through a method he called dream analysis. Each aspect of his studies and theories attempt to identify the reason behind human behavior.
Shakespeare's "The Tempest" forms a world within itself. Within this world, many topics regarding government, power and colonization are addressed. Shakespeare tackles the discovery of new places and races, the relationship between the colonized and the colonist, old world ideologies on new soil, as well as theories on civilization and government. These aspects at the core reveal a very clear struggle for political power. Prospero's first major monologue creates the foundation of such a theme. In 1.2 lines 30-175 Prospero tell his story recounting the usurpation of the power he had as Duke of Milan, then quickly renews his power on the island. Prospero beings his story with an authoritative tone stating: "Obey and be attentive" (1.2 48). Desiring political power and authority becomes the core from which other themes derive.
The Tempest, like any text, is a product of its context. It is constructed in relation to moral or ethical concerns of 17th century European Jacobean society. The resolution of conflict appears 'natural' or an inevitable consequence if regarded in relation to the concerns of its context. The resolution of conflict in this play incorporates Prospero being returned to his 'rightful' or natural position as Duke of Milan, his daughter Miranda getting married to Ferdinand, and the party returning to Milan leaving the island to the 'monster', Caliban. The resolution is a consequence of the concerns of the time, including the idea of the divine right of kings, courtly love, and colonisation.
One of the most complex changes in the play takes place within Prospero himself. In considering his motives for "wrecking" the ship and bringing the characters to the island, we can't escape the feeling that Prospero holds a great deal of resentment about his treatment back in Milan and is never very far from wanting to exact a harsh revenge; after all, he has it in his power to significantly injure the parties that treated him so badly. We learn more of Prospero's character when he has a sudden insight in the start of the final act, when he decides that revenge is not the most appropriate response.