"The Things they Carried"

The first archetype that jumped out at me as soon as I started reading the story was the novel design of letter writing. There are many stories of soldiers writing letter to their sweathearts at home. Now there are even modern parallels to that archetype; writing e-mails in long distance relationships, texting. Now, even more than then, letters across a long distance are romantic and personal. In Vietnam, or in previous wars, there were no cell phones and no way to skype or video chat.

The soldier and the sweatheart waiting at home are two archetypes in themselves. There are many different variations of that relationship that can play out in a story. The soldier dying and the girl finding out is another. The man returning home changed is another.

The soldier in the jungle is another archetype. It's uncharted territory, almost like the forest in "Young Goodman Brown." At night, the jungle is even more complicated by the fact that it is even more dangerous in the dark.

I was really interested by the passage about superstition. The soldiers are very superstitious, it can't really hurt to try to attract good luck. This is a section, I believe may challenge cultural norms about superstitions. The soldiers carry good luck charms but they seem to be charms determined by their setting. A normal good luck charm may be a religious symbol, and a rabbit's foot that one soldier does have, but another carries a pebble and another, a thumb. The thumb definitely challenges the normal good luck charm. Although it is mentioned in the story that there is a moral associated with the thumb, "Have gun, will travel," The other soldiers don't really seem to understand why that is associated with the thumb. I, a reader, didn't really get it either. When considering that it is the thumb of an enemy and a young boy not too much younger than they are, the thumb does make sense, but I would not expect a person away from the war to be carrying a thumb around for good luck. The thumb would be a great topic of discussion for the classroom.

Archetypes and the Influence of Context

In "The Things They Carried" the reader is immediately exposed to two archetypes that I believe have been present in American literature since World War I - the soldier and his awaiting sweetheart. As I read that "First Lieutenant Jimmy Cross carried letters from a girl named Martha," my mind immediately jumped to these two archetypes, even though I read one line later that "They were not love letters, but Lieutenant Cross was hoping" (280). It's funny because I was immediately hoping as well. I feel like that's the power of archetypes - even though Martha is not necessarily a romantic interest, the less messy role that she fits in is as the girlfriend awaiting her soldier boyfriend. Even if later she were to write him a Dear John letter, then the break-up would fit more cleanly into a mold of 'the way things happen.'

But context, even though it can create a bit of a mess, seems to play an important role in the realization of archetypes. Yes, Jimmy Cross is a soldier, and he is brave and heroic and masculine in that he is physically fighting to further the cause of his nation. But he is also scared, naive, and numbed... words not necessarily associated with the soldier/warrior archetype. We learn that the men both "share the weight of memory" and perform with specific "stage presence" (287, 290). It is here that the context of this specific war, and O'Brien's feelings about it, enter into the understanding of the story. The soldiers were "afraid of dying, but they were even more afraid to show it," and for these men, death "seemed scripted... irony mixed with tragedy" in the way that war deaths were 'supposed to' seem (287). The men, in essence, were afraid to break their stereotyped roles, and they worked to ensure each death was profound in its national sacrifice, and not in its senselessness or randomness.

The specific context of the Vietnam War further complicates the expression of archetypes in this story. In this particular war, where the men were in jungle lands completely foreign to American military, fighting a war (drafted mostly) that was seriously opposed by large youth and media movements, the senselessness felt by many soldiers (at least in O'Brien's account) of this particular national aggression challenges the roles of a 'good American.' As O'Brien dictates that "Men killed and died because they were embarrassed not to," there are two versions of bravery at stake that do not necessarily align with archetypes ( 291).

For one, the soldiers are compelled by their ingrained sense of duty to their country, and they would be "embarrassed" to diverge from this behavior. On the other hand, the fact that the men are compelled solely by their fear of society's judgment suggests no legitimate passion to fight the spread of Communism in Vietnam. Here, bravery could be either to serve the country (in the traditional sense of a 'brave soldier') or to rebel against the dictates of society, and resist service to the country. Here another archetype - the rebel - begins to emerge, but it is not fully realized, as the men of the Alpha Unit are, in fact, fighting as soldiers in the war.

To me, then, (and I know this is a jumble of thoughts) context helps to influence and determine the complexity of an archetype; and the developed complexities may in fact take down the traditional dictates of a given role (e.g. the dutiful soldier as part rebel).

"The Things They Carried"- archetypes in context

After reading “The Things They Carried” by Tim O’Brien, I started thinking about archetypal symbols and characters in the context of war. In class, we have been discussing how archetypes are reflective of the culture that created them. It is interesting to think about these symbols as little carriers of that certain culture as they travel abroad. “The Things They Carried” is all about the things that the American soldiers brought with them around Vietnam. Each symbol represents a small aspect of American culture in the midst of the Vietnam War. For example, earlier in the story, Lieutenant Jimmy Cross describes Martha, the girl he left at home. He pretty much creates the image of the archetypal “virgin” character that we, as American readers, are familiar with. However, this archetypal character does not stand isolated in American culture. Instead, the archetype is introduced within the context of the Vietnam War. In my opinion, the context quickly gives an alternate view on the archetype. At home, Martha might have been an innocent tease, a pure virgin. However, in Vietnam with Jimmy Cross, Martha causes a lot more than innocent trouble… The thought of her that haunts Jimmy Cross may have cost on of the men’s lives.

There were many archetypal symbols that I pulled out from “The Things They Carried.” I felt most of these archetypes symbolized strong emotions that are essential in a time of war: fear, luck/hopefulness, numbness, rage, etc. I think the symbols have very strong connections to emotions in this particular context, because people’s emotions are so intense during a time of war.

One archetypal character in this story is the idea of the “macho man.” This one line in particular really stuck out to me when reading: “They died so not to die of embarrassment.” The men in the story struggled to keep their true emotions calm and hidden and to appear macho- stone cold. I guess it is some of the archetypes (the letters, photos, good luck charms, etc.) that actually give their real feelings away.

Archetypes, Culture & "The Swimmer"

When considering our unit inquiry question, "How does the use of archetypes in literature reflect or challenge cultural views?", it is important to consider the ways in which an archetype is deeply rooted in a culture. Since cultures are always changing, it can be difficult to assign meaning to an archetype unless we understand the context in which it is found. Through a close literary analysis of short stories, we can identify archetypes that surface in a culture's literature. Only then can we begin to apply the archetype in a way that helps us find meaning.

While reading "The Swimmer", by John Cheever with the inquiry question in mind, several distinct archetypes become clear and help us to develop connections between symbols, culture, and meaning.

1. Water is a crystal clear example of an archetype and this story is full of it! Jung believed that water is the most common symbol for the unconscious. This idea becomes especially important when we consider Neddy's crisis. The narrator asks, "Was his memory failing or had he so disciplined it in the repression of unpleasant facts that he had damaged his sense of the truth?" (220). It is implied that Neddy has lost his home and family and is swimming as a means to forget or repress. What's really interesting about this particular crisis is that it is highly representative of our culture. The family structure has collapsed in modern America and the result is often a fractured individual psyche. If the water symbolizes the unconscious, then it could mean that Neddy is not aware of his fractured self. He uses defense mechanisms like repression and denial to bury the truth. The water imagery - the pools, Lucinda River, streams, rain, the well, a fountain - are all important to recognize in the story because of their archetypal significance.

2. The Journey or Initiation is a good example of a narrative archetype found in "The Swimmer". Neddy is a sort of modern hero, undergoing a series of challenges (swimming across the country and tolerating the abuses of his pretentious neighbors). The Journey / Initiation Archetype usually consists of three phases 1) separation, 2) transformation, and 3) return. We can identify Neddy as an archetypal character because he identifies himself as one. The narrator indicates that Neddy had, "the feeling that he was a pilgrim, an explorer, a man with a destiny" (218). Here we get the sense of direction or purpose. But it is difficult to say how he has changed over the course of the story. However, he does begin to cry for "probably the first time in his adult life" (224). He then returns home, finding that it is empty. Perhaps Neddy has come to the realization that he is broken, just like the gutter that hangs "over the front door like an umbrella rib" (225). He is the result, or maybe the cause of, a broken family. This issue resonates throughout our culture as the divorce rate continues to rise.

3. There are also seasonal archetypes functioning in the story. We know that the story takes place in "midsummer". But it also contains signs of Fall - which represents death or decay. Neddy felt, "a peculiar sadness at this sign of autumn" (220). This change could mirror his own internal decay - the result of a destroyed family.

All of these archetypes help us find meaning in the story because we place them in a cultural context. If divorce or family structure was an unknown issue or irrelevant to the times, it might be difficult to make sense of Neddy's struggle. We identify this issue as culturally relevant and the archetypes we find serve as evidence to reinforce the meaning.

Sorry this is late!

The "Swimmer" and "Where are you Going..." go really well with our essential question that asks how the use of the archetypal lens helps us understand, or challenges cultural views. Connie is an important archetype as well as Arnold Friend.

Connie's character is archetypal because she is a really releatable character. She is not quite popular, and single and her main desires are really to attract the attention of a boy and become a little more dangerous, and a little more popular. Her experience of attracting Arnold and ending up leaving the way she had to are the elements of the story that may challenge the accepted cultural views of that time and this time depending on who the reader is. For a younger reader, closer to Connie's age, this would challenge her views of what happens when a girl tries to meet a boy in hgigh school or what happens when a girl matures enough to be attractive to men. The Story goes one step further and warns girls that what happens isn't what they think will happen. Instead of just an innocent high school romance, or even more physical acts, She gets taken away completely. But for parents, I feel like this story would be seen differently. Instead of challenging their norms, a parent with a daughter would say something like, "This kind of thing will happen to you." We would not be teaching adults, so I guess that is moot. Still, I think "Where are you going..." Challenges most student's norms.

Connie's situation both a ligns with cultural norms and challenges them. Arnold, I'm not as sure about. He is older, so there is an archetype for the older, wiser, attractive (?) man. An older man with a younger girl is dangerous by assumption, so in than case, the story helps us understand why this character in the story and in real life is so dangerous. Underneath everything that Connie wants, he is danger. In real life, this may be implicit danger. Dangerous people don't usually identify themselves the way that Arnold does in the story, but there he has license to threaten her family. He exists in the story as an archeytpe and a warning. His behavior, although strange, is not so surprising.

I think I'm contradicting myself, but I think Connie's situation challenges cultural norms, but Arnold's character does not.

Essential Question and "Where are you going, Where have you been?"

Hey gang,

As I was reading Oates' "Where Are You Going? Where Have You Been?" I was especially mindful of our Essential Question (=How does the use of archetypes in literature reflect or challenge cultural views?). I feel like the character Arnold Friend offers unique insight into this inquiry question.

Arnold is himself a caricature of an archetype - he dresses up to look like a greaser kid, but in fact he "wasn't a kid, he was much older - thirty, maybe more" (233). This description of the questionable character highlights the appeal of the youthful rebel, the Danny Zuko character from Grease. But it does not quite challenge the archetype because Arnold does not successfully embody it. He is older, trying to seem young and cool. Having made it through high school myself, I feel pretty safe in saying that - no matter the era - playing cool is no substitute for being cool. In Arnold's case, it comes off as creepy. (Not to mention he's got his less-than-successful wingman, Ellie, but that's a whole other tangent.) To me, Arnold (styled "A. Friend") is a character that actually reflects cultural archetypes in his own striving to embody one. He needs to step into a known sort of character to act as a lure when he preys on Connie. He reinforces the very importance of the archetype by attempting to be it.

Connie's character serves as another sort of archetype for me. Though it is clunky to put into words, she is the she-knows-she's-pretty pretty girl. Though this may not be in the canon of archetypes, for anyone who's ever read or seen teen-centered fiction (and even non-fiction), it may as well be. With this preoccupation with attractiveness comes a certain corruptible naivete - Connie "knew she was pretty and that was everything,"... until it wasn't (226). When Connie is approached by Arnold, her inclination is to welcome his advances, as though he is yet another of her admirers, and so when Connie comprehends the situation, "she [is] so sick with fear that she [can] do nothing" (237). Connie's character may, in fact, challenge archetypes, as Oates' story may emphasize the importance of alertness... but I'm not so sure.

"The Swimmer" essential question and reflection

I kept our essential question in mind particularly when reading “The Swimmer” by John Cheever. (I don’t remember our exact wording, but) Our question was about how the archetypes in literature reflect and challenge cultural values. It is very interesting to think about the archetypes and culture of “The Swimmer.” “The Swimmer” was published in 1964 and is obviously a story placed in America, east coast specifically. Some of the archetypes are archetypes that signify high social status and class. Just to list a few, there is the golf links, tennis court, roses, gin and tonic, Connecticut reference, caterers, parties, gatecrashers, etc. These are all archetypes created by culture (as all archetypes really are) and those that we picture when we think of upper class.

It is interesting to think about how these archetypes used in the swimmer may “challenge” cultural values as the main character Ned begins to lose his stability and accountability as the narrator or main character. With Ned’s confusion and delusion, Cheever may be challenging the values of the upper class.

I also thought this story was a great example of the archetypal narrative. This would be a great story to teach because it constantly refers to the journey, “the pilgrim, the explorer, the man with a destiny.” This man is on a journey to get back to home, but eventually the reader realizes that his journey is actually not what he thinks it is. It turns out that his journey has actually transformed into a downward spiraling, out of his control. It would be a great discussion to look at Ned’s journey through the archetypal lens and decide which type of journey or archetypal narrative it actually falls under.

reactions to "A Rose.." and "A Good Man.."

(Hey everyone! Sorry this was such a late post.)

When reading “A Rose for Emily” by William Faulkner, the first thoughts that came to my mind was a rose as an archetype symbol. The rose is a heavily weighted symbol; it signifies love, beauty, passion, and romance. I think the rose also has other messages tied to it though, such as “every rose has its thorn.” A rose is also very fragile and treated with caution and admiration. I think all of these ideas can tie into Faulkner’s story, “A Rose for Emily.”

A number of aspects jump out to me when I read this text. One of the most interesting of these is the narrator as a collective voice. In this story, the narrator or narrators refer to themselves as “we.” Faulkner sets it up as if the entire town is telling this story about Emily. Rumors and gossip play large roles in the telling of this story.

One thing that is interesting to me is that, although Faulkner’s descriptive writing is very clear, I can never seem to create a clear image of Emily in my head. I’m always confused because at one point she’s fat, then thin, then white, then gray. I think part of the reason for my confusion may be because the narrators themselves are unsure of what Emily looks like exactly. They are only getting short glimpses of this intriguing character and they use their imaginations to create the rest.

I guess it would be interesting to involve a creative writing project when teaching this text. The students could play with the ideas of rumors and gossip diluting or changing the story- sort of a written “telephone” game. For younger students, this would be an important lesson on the influence of point of view on a story.

After reading “A Good Man is Hard to Find,” by Flannery O’Connor, I would consider using this story to teach a lesson on characterization or even archetypal figures. The characters in this story are so powerful from the very beginning. The grandmother and the Misfit are the two characters that strike me the most. On the surface, they would appear to be opposites- an old lady and a male killer. However, at the end of the story, I am left with the feeling that O’Connor wanted us to realize that they really weren’t that different at all. The quote: “‘She would have been a good woman,’ The Misfit said, ‘if it had been somebody there to shoot her every minute of her life’” really sticks with me and makes me think twice about these characters.

Another part of the story that always amazes me is when the grandmother, who comes off as so stubborn and determined, realizes that she made a mistake about which state the house was in. I think this is the pivotal moment where the reader starts to see the multiple dimensions of each character.

Archetypes in "A Rose for Emily," and "A Good Man is Hard to Find."

At the beginning of the story, "A Rose for Emily," I felt like they were already setting her up as an archetypal character. She was well-known about town and a "tradition" (160). The mayor is also an archetype, he is not named but is just defined by his title. We know nothing else about him, but because he is the mayor, through the archetypal lens we already know(assume) many things about him. "The Negro" that works in her house is also an archetypal figure.

The death of a parent is also another archetype of element of story design. Miss Emily's father dies, and she is forever changed by it. The story suggests that she goes crazy because of it. In most stories where this archetype is present, one of the characters either tries to take revenge on the parent's murderer or carries the death in a traumatic way. Miss Emily deals with the death of her father in both ways almost. She was so traumatized by her father's death that she refused to properly acknowledge Homer's death.

The arsenic that Miss Emily tries to buy for rats is also an archetype. Or maybe just the idea of taking poison must be an archetype. The poison was mentioned in this story and already I can conjure up at least Socrates (hemlock) and Romeo and Juliet so there are definitely many associations with it.

I really didn't expect the ending, there was plenty of foreshadowing, I just never caught on to what was being foreshadowed. Maybe the smell that was coming from her house is also an archetype. The smell of decay is a symbol that would probably apply to any time period.

In "A Good Man is Hard to Find," is Florida an Archetype? Especially when in the first sentence there is mention of a grandmother, I think Florida can be made an archetype. We talked on Wednesday about how an archetype had to be a widely accepted (old) symbol. I'm not exactly sure how old the idea of old people moving to Florida is. If it is a tradition of over 50 years old, can it be a new archetype?

The Misfit is also a very strong archetype. He reminded me of Arnold Friend from "Where are you going, Where have you been?" He, like the Mayor and the Negro from "A Rose for Emily," has no real name only an identity characterized by his actions as a Misfit.

The family road trip is also perhaps an archetype in this story, but, like the idea of Florida, it is probably also a new one.

Continuing our Discussion of Hills Like White Elephants

Hey Everyone,

I've been thinking more about what we began to discuss at the end of last Monday's class regarding Hemingway's "Hills Like White Elephants," particularly with regard to the discussion of the "it" in the story.

I especially appreciated the point that any divining of the meaning of "it" relies on archetypes, and I've begun to consider more how much this is the case. In my own cultural experience of life, the combination of an older man, a younger girl, an affair-like (or at least, non-married) relationship, a trip to an unknown place to perform an activity that is ominously never named... well I wouldn't say it screams abortion, but abortion was in fact one among the initial idea to cross my mind when I first read this story a few years ago. This all being said, this story was written in 1927. Of course I can only speculate, but I imagine that the even-more-ominous nature of an illicit May-December affair, let alone the act of getting an abortion, against the backdrop of the 1920s would serve to emphasize the unspeakable nature of "it."

I guess I'm a little preoccupied with how much time - the period and the distance from present day - affects understanding of an archetype. For example, when the American insists "I wouldn't have you do it if you didn't want to. But I know it's perfectly simple," I take him to be patronizing and reliant on the fact that, at the end of the day, Jig values his experience and conceptions of the world as outweighing her own (151). I form these interpretations based on words from his dialogue such as "I wouldn't have you" and "it's perfectly simple," which to me suggest a broadcast sense of worldliness and a condescension based on 'the wisdom of his years'.

But in 1927, would I derive these same opinions of the man? I can't say because I don't know how the typical man...let alone the typical man in his relationship with a woman...let alone the typical man in his relationship with a younger woman (... I could go on and on and on) would be generally categorized or represented in literature and other forms of fictional entertainment. Beyond even the era-based conception of archetypal man, I could delve deeper into the fact that he is referred to as The American, and all of the potential archetypal symbols that fall in with this. Ultimately, though, I am conflicted. I don't feel limited by my lack of first person understanding of gender roles in the 1920s, but at the same time I am fairly certain that there were certain cultural sentiments from this time period that I am unknowingly excluded from fully comprehending. To this end, I think that time significantly determines the presence of archetypes, but conversely the passage of time or the newness of an era cannot prohibit the existence or understanding of them.

Elizabeth

Archetypes in "Sweat"

The snake in Hurston's "Sweat" is an excellent example of an archetype. Such a symbolic creature! I was researching "snake symbolism" and found something about children that play with modeling clay (ha, random yes, but follow me!). Often, the long, thin noodle that they produce between the palm of their hands will be called a snake, even if they have never seen one. This is fascinating because it enforces Jung's ideas about archetypes - these are hard-wired and transcend time and culture. Although it's true we have been seeing that some symbolic archetypes are also very contextual and dependent upon culture.

Serpent (snake or worm): symbol of energy and pure force (cf. libido); evil, corruption, sensuality; destruction; mystery; wisdom; the unconscious.

In "Sweat", the snake is a source of great fear and hate for Delia. Very early in the story, she expresses her paralyzing fear of snakes and blasts Sykes for scaring her with the whip, which she had mistaken for a snake. Later, when there is an actual snake in her home, she suffers from an even greater degree of torment, that suggests a parallel between her hate for Sykes and the snake itself. On a quick reader response tip, because of my religious background, I associate snakes with the serpent from the Bible - a classic symbol of evil. However, it is also a classic symbol of wisdom. These two ideas may both have a place in "Sweat" when considering the snake through an Archetypal Lens.

It's very interesting to consider the ending and how/why the snake caused Sykes' implied death. Perhaps the snake represents death or God's wrath - enforcing justice into Sykes' neck with its fangs! Maybe the snake is a symbol of anger and is the living manifestation of Delia's anger toward Sykes. The possibilities are endless but the process of asking these questions is so important in our attempt to find meaning.

I think this specific example is a fantastic model for how several different components of Critical Theory come together in a unified approach to studying literature. Since the snake image evokes an emotional response from most readers, it could be a great way to encourage students to explore their own personal associations with such an image. This unifies two lenses - Reader Response & Archetypal - all while using the text to enrich our understanding of both content and theory.

Another really fascinating archetype in "Sweat" is the color white. Early in the story, Sykes is stepping on "the whitest pile" of freshly washed clothes that belong to "white folks'." From our previous discussions on primordial symbols, we know that white is associated with purity or innocence. It could be that he is metaphorically stepping on Delia's innocence and purity. He is actually defiling her soul by violently mistreating her.

I also picked up on the seasonal archetype idea. The story starts in spring and "burns through" the summer. Spring is usually a symbol for rebirth and new life. Summer symbolizes peace, maturity, knowledge, and the prime of life. With this in mind, perhaps Delia will finally be at peace, now that her tormenter has perished.

Finally, the "Bully" character archetype that Jessica mentioned is clearly at work here, too. Sykes dominates the relationship as the aggressor and Delia is terribly oppressed - a common character relationship found in many works of literature.

Archetypes in The Metamorphosis

Hi Everyone,

Sorry this post is late - I was home for the weekend and got back WAY later than anticipated.

In my search for a common list of archetypes, I've found such exhaustive information, that I feel like any character you can characterize as "The X,Y,Z" is an archetype (e.g. The Bully, The Teacher's Pet). An element of Franz Kafka's "The Metamorphosis" that I find to be very interesting through our lens is the fact that the archetypes seem to be presented through shifts. This is to say, the characters occupy different archetypal roles as the story progresses. This is apparent as early as the first line in the novella, when Gregor Samsa awakes to find himself "transformed into an enormous pest" (63). Though I interpret that we are to take this transformation to be literal, the words of this line can be picked apart to show many archetypal references. For one, there is the connotation of the word "pest" - as in, parasitic, bothersome, unnecessary, and even something life/people would be better off without. Then there is the word "transformed," which suggests (as we find out is correct throughout the continuation of the story) that Gregor moves from being one who contributes to being one who exploits... though I'd argue that Gregor is forced by his condition to be one who technically "exploits," as in requires the assistance of others. To me it seems that Gregor is now in the role of The Parasite. Though this may not be on a top ten list of archetypes, I feel it is nonetheless a commonly occurring role in a society or group - the one who uses but contributes nothing.

The thing that makes this story so fascinating, though, is that Gregor certainly did not always fill this role. Though he now is confined by his buggy condition to his room or other isolated parts of his home, he was once the primary breadwinner for his family, while his father sat at the kitchen table, seemingly interminably, demanding work and effort from his wife and children, yet contributing no discernible amount himself. Here, Gregor was once The Provider, and his father was The Pest/The Parasite. When Gregor is suddenly forced by his physical state to change his role within his family (=society), no one in his family knows how to react. With his formerly affectionate sister at one point exclaiming " 'It has to go,'... and practically vaulted off her chair, as if she'd rather sacrifice her [mother] than remain in Gregor's vicinity" (94). This pronounced - and devastatingly sad - shift in feeling toward Gregor, essentially for the physical version of a role shift, suggests a deeper issue about society: that one is bound (by expectations, if nothing else) to stick to the role they've established. Any departure from the norm might result in disdain, anger, or even - as Kafka depicts - grotesque horror.

This idea of societal impact on archetypal roles and "role maintenance" seems like an interesting one to explore in teaching this unit. I like that we could take the discussion from the text (e.g. What are the roles played by the family members in the story? How do these roles change?) to the personal OR general (e.g. What are roles in society? How do people come to inhabit their role? Can one ever change the role they assume, and if so - how?), or even the opposite order. I'd like to discuss this element more together in class tomorrow.

Elizabeth

Archetypes, YGB, and Sweat

I know we were trying to compile a list of archetypes. Here are some that I have found:

"The Hero
A larger-than-life character that often goes on some kind of journey or quest. In the course of his journey, the hero demonstrates the qualities and abilities valued by his culture.
King Arthur, Odysseus, Luke Skywalker, Frodo

The Father Figure
The protector and leader
Mufasa from The Lion King

The Mother Figure
The protective nurturer and gentle provider
Ma Joad in The Grapes of Wrath

The Fatal Woman or Temptress
A woman who uses her power (intellect, magic, or most of all, beauty) to make men, especially the Hero, weak
Circe and the Sirens in The Odyssey, Lady Macbeth, Morgan le Fey

The Witch
A woman, often a hag (though she may be disguised as a beautiful young woman), who attempts to trap and destroy the protagonist
The Wicked Stepmother in fairy tales

Monster/Villain
The antagonist, especially in opposition to the hero.
The Big Bad Wolf from Little Red Riding Hood, The Giant in Jack and the Beanstalk

The Innocent
An inexperienced male or female character that is exposed to the evils in the world
Dorothy in The Wizard of Oz, Little Red Riding Hood

The Alter Ego or Double
Reveals the dual nature of man
Dr. Jekyll and Mr. Hyde

Helpers ~ Wise Old Woman or Man ~ Wise Animal
Characters that assist or guide the protagonist
Merlin, Yoda and Obi Wan Kenobi in Star Wars, Grandmother Willow in Pocahontas

The Trickster/The Fool
Characters who trick others to get them to do what s/he wants – they can be both virtuous and nefarious.
Puss-in-Boots, Road Runner, Fred & George Weasley

The Underdog."

--

Others that I was thinking about -> light/dark, we discussed color briefly in class on Wednesday and what the colors signify.

One thing I was wondering about archetypes is whether or not setting is an archetype. Because YGB is set in Salem, doesn't the place itself become a symbol? Salem carries many associations... the which trials, religion... Unless these things would fall more under the historical lens. I'm not sure. Salem is definitely a symbol recognized by most people at least for the Salem witch trials. In the Unit, the class could explore what associations each student has with the symbols and archetypes in the story. This has potential to be a great visual activity where the student has to draw an example of an archetype, explain it, and give several example of it like the ones listed at the beginning of the post. The students would enjoy getting to draw and color as well as making text-to-text or even text-to-self and text-to-world connections.

Another Archetype in the story is the "Native" Indians. Talking about how this character is an archetype may also be a good way to talk about stereotypes in the classroom. The Indians in this story are devilish and bad characters. Obviously since not every Indian is a savage, the class could discuss times when they have experiences stereotypes based on a part of their identities. Hopefully this would help them easily catch on to the lens, and teach students that this is a lens (sort of) that people use in their everyday judgment of the people around them. Equating the archetypal lens to stereotyping may help the students get away from stereotypes or at least identify when they are guilty of using them.

For "Sweat," I definitely identified the same archetypes that Rebecca did. Even from the first few paragraphs it is clear that the story is about a husband a wife whose relationship is uneven. He wants to whip her and it is automatically apparent what archetypes they are. He is the abusive, controlling bad husband; she is the permissive wife.

The skillet was an important symbol I found in the story. it is an archetype for women's work, and also strength. It became even more interesting when it actually stops Sykes from hitting Delia. I guess, though it is also saying that women's strength is in it the kitchen, hidden.

Archetypes in "Young Goodman Brown" and "Sweat"

Hi guys! From our reading this week, "Young Goodman Brown" seems to be the perfect story to look at through the archetypal lens. YGB is filled will archetypes that most people would be familiar with (even without much background knowledge on archetypes). Because this story is still complicated in other ways, I would definitely consider using this as one of the first stories in an archetypal unit, but probably with a higher level group or grade.

Just on the first page, there were many archetypes that can easily be connected to other pieces of literature. The dreary road, the traveler, the devil, the clock, the forest, the staff, the snake/serpent, the pious old lady are some of these archetypes. It could be a nice activity for students to take a few of these from YGB and brainstorm other books, TV, movies, etc. where they've seen these symbols, characters, and settings.

YGB would also be an interesting story to study because Hawthorne sets up these well-known archetypes, but then he distorts them as Young Goodman Brown goes deeper and deeper into the forest. Hawthorne uses the preconceptions that come along with the archetype in order to further support his message.

"Sweat" wasn't filled with different archetypes as YGB was, but there was definitely one prominent archetypal situation; that of an abusive husband and submissive wife. However, Hurston gives so much power to Delia because she is able to stand up to Syke, she fights back against the limitations of her gender, and essentially, she also breaks the archetype that she had been stuck in for years.

I think it is pretty interesting how both of these short stories use the archetype as a strategy. By definition, as readers when we encounter an archetype, we assume that we know what to expect. However, Hawthorne and Hurston used archetypes and our assumptions to surprise us when the characters/symbols were not exactly what we thought they would be.

Primordial Symbols & Archetypes

After reading a little more on Jung, it seems the term "primordial" is essential in our exploration of the Archetypal Lens. Primordial means, "existing from the beginning of time." The words "archetype" and "primordial" are nearly interchangeable. This post concerns my search for a list of common archetypes / primordial symbols commonly found in literature. 

One image that serves as a great example is the dark forest. We usually associate this image with danger, obscurity, confusion, the unknown, evil, sin, or death. I think of the jungle in Heart of Darkness or the forest in Hawthorne's "Young Goodman Brown." These types of symbols are external stimuli, but only because they illicit an internal response from the reader, tapping into the mind at an unconscious level. 

The following is a short list of primordial symbols commonly found in literature:

• river (the passage of time)
• overcast sky (gloom, depression, despair)
• lamb (innocence, vulnerability)
• violent storm ( wrath, inconsolable grief)
• flowers (delicacy, perishability, beauty) 
• mountain (obstacle, challenge) 
• eagle (majesty, freedom) 
• the color white (purity, innocence) 
• the color red (anger, passion, war, blood)
• the color green (new life, hope) 
• water (birth or rebirth) 
• autumn (old age)
• winter (death)

One specific symbol that I came across while reading was the poison apple in Snow White. Many Western students familiar with Christian mythology would recognize this as a symbol of temptation or sin. We think of the forbidden fruit in Genesis and the implications this might contain. The salient point here is that the best primordial symbols are those which are deeply rooted in a culture's identity (religion, mythology, literature).    

Perhaps the most effective way of teaching literary theory to adolescents is through an exploration of fairy tales. These types of stories are rich with culture, allowing students to identify patterns. Because the content is familiar and simplified, more attention can be paid to the application of a lens, allowing for a balanced approach to studying literature through multiple perspectives. However, we should always remember that our students may come from a diverse range of cultural backgrounds and might not share the same ability as their peers to identify patterns which are culture-specific. 

Finally, it is important to note the importance of primordial symbols, but also to understand that the Archetypal Lens is not limited to symbolic imagery. For example, archetypal characters like "Femme Fatale" (a female character who causes catastrophic events) are equally important in our understanding of the lens.  There are also narrative archetypes like "The Journey" (where the protagonist must overcome a series of obstacles before reaching a goal). These three components - primordial symbols, archetypal narratives, and character types - help us to broaden our scope of the Archetypal Lens.  

 

hi

The Archetypal Lens in Appleman

Hey gals,

Here is what Appleman has to say about The Archetypal Lens / Perspective / Criticism. Since our first blog post concerns the lens itself, this might be a good place to start, although outside sources and information should prove helpful as well!



The Archetypal Perspective (141-2)

In literary criticism, the word archetype signifies a recognizable pattern or model. It can be used to describe story designs, character types, or images that can be found in a wide variety of works of literature. It can also be applied to myths, dreams, and social rituals. The archetypal similarities between texts and behaviors are thought to reflect a set of universal, even primitive, ways of seeing the world. When we find them in literary works, they evoke strong responses from readers. Archetypal themes include the heroic journey and the search for a father figure. Archetypal images include the opposition of heaven and hell, the river as a sign of life and movement, and mountains or other high places as sources of enlightenment. Characters can be archetypal as well; some examples are the rebel-hero, the scapegoat, the villain, and the goddess.

Archetypal Perspective (145)

In criticism, archetype signifies narrative designs, character types, or images, which are said to be identifiable in a wide variety of works of literature, as well as in myths, dreams, and even ritualized modes of social behavior. The archetypal similarities within these diverse phenomena are held to reflect a set of universal, primitive, and elemental patterns, whose effective embodiment in a literary work evokes a profound response from the reader. The death-rebirth theme is often said to be the archetype of archetypes. Other archetypal themes are the journey underground, the heavenly ascent, the search for the father, the heaven/hell image, the Promethean rebel-hero, the scapegoat, the earth goddess, and the femme fatale.


Archetypal Criticism - Literary Theory Card (150).

Assumptions
   
   1. Meaning cannot exist solely on the page of a work, nor can that work be treated as in independent entity.
   2. Humankind has a "collective unconscious," a kind of universal psyche, which is manifested in dreams and myths and which harbors themes and images that are hard-wired in all of us.
   3. These recurring myths, symbols, and character types appear and reappear in literary works.

Strategies


   1. Consider the genre of the work (e.g., comedy, romance, tragedy, irony) and how it affects the meaning.
   2. Look for story patterns and symbolic associations, such as black hats, springtime settings, evil    stepmothers, and so forth, from other texts you've read.
   3. Consider your associations with these symbols as you construct meaning from the text.