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http://www.press.jhu.edu/books/hopkins_guide_to_literary_theory/free/ archetypal_theory_and_criticism.html
Archetypal Theory and Criticism The Johns Hopkins guide to literary theory and criticism by Michael Groden and Martin Kreiswirth. The Johns Hopkins University Press, London,1994. First online edition 1997.
The term "archetype" (arche, "original"; typos, "form") Northrop Frye introduced new distinctions in literary criticism between myth and archetype. For Frye, as William K. Wimsatt and Cleanth Brooks put it, "archetype, borrowed from Jung, means a primordial image, a part of the collective unconscious, the psychic residue of numberless experiences of the same kind, and thus part of the inherited response-pattern of the race" (709). Archetypal criticism was never linked with any academic tradition and remained organically bound to its roots in depth psychology: the individual and collective psyche, dreams, and the analytic process.
http://www.wsu.edu/~delahoyd/lit.crit.html
Archetypal Criticism
Archetypal criticism argues that archetypes determine the form and function of literary works,
that a text's meaning is shaped by cultural and psychological myths. Archetypes are the unknowable basic forms personified or concretized images, symbols, or patterns which may
include motifs such as the quest or the heavenly ascent, recognizable character types such as the trickster or the hero, symbols such as the apple or snake, or images such as crucifixion, all laden
with meaning already when employed in a particular work.
Carl Jung postulated that humankind has a "collective unconscious," a kind of universal psyche,
which is manifested in dreams and myths and which harbours themes and images that we all inherit. Literature, therefore, imitates not the world but rather the "total dream of humankind."
Jung called mythology "the textbook of the archetypes" (qtd. in Walker 17).
Archetypal critics find New Criticism too atomistic in ignoring intertextual elements and in
approaching the text as if it existed in a vacuum. After all, we recognize story patterns and symbolic associations at least from other texts we have read, if not innately; we know how to
form assumptions and expectations from encounters with black hats, springtime settings, evil stepmothers, and so forth. So surely meaning cannot exist solely on the page of a work, nor can
that work be treated as an independent entity.
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 intelligibility of the text but also tap into a level of desires and anxieties of humankind.
http://www.geocities.com/haverfordenglish/10litcrit.html
Archetypal approach assumes that there is a collection of symbols, images, characters, and motifs (archetypes) that evokes basically the same response in all people. According to the psychologist Carl Jung, mankind possesses a "collective unconscious" that contains these archetypes and that are common to all of humanity. Myth critics identify these archetypal patterns and discuss how they function in the works. They believe that these archetypes are the source of much of literature's power.
Advantages: Provides a universalistic approach to literature and identifies a reason why certain literature may survive the test of time. It works well with works that are highly symbolic.
http://www.fccps.k12.va.us/gm/faculty/english/archcrit.htm
Archetypal Criticism and Joseph Campbell
by Ellen K.
Archetypal critics contend that literary greatness depends on themes and images shared with other literature rather than on the author’s originality.
The origins of archetypal criticism are in psychology and myth analysis. It is also called "myth criticism". Jung, stated that there were two parts to the human unconscious, the personal and the archetypal. Personal unconscious is our own repressed or other memories which influence us. The archetypal, or collective unconscious is a theoretical pool of memories that everyone shares, a sort of shared knowledge.
Characters
hero/hero’s journey - the protagonist, the hero’s journey is always his journey from childhood to adulthood, but can also be an actual journey to find something such as his past, usually male examples: Odysseus (Homer), Hercules, Robin Hood, King Arthur death - the antagonist, attempts to thwart the hero’s plans and waylay his journey, greedy, lustful, usually rich, examples: the White Witch, King John, Hades shadow - the evil inside the hero, conflict, temptation, obstacles in journey, this is not represented by a character, but is more of a theme, Jung was not clear mother and father - may be dead, search for parents may be included in the hero’s journey " wise old man " - provides guidance, often has magical powers, examples: Merlin " love interest " - usually female, as the hero is almost always male, sometimes distracts the hero from his journey, provides motivation, eventual happiness together sidekick - self explanatory, provides a foil for the hero, examples: Will Scarlet, Watson
Themes Good vs. Evil, Light vs. Dark
the misfit in society (the hero or the archetype of death) interpretation of dreams the dead returning to life, or simply advising the living (esp. in Greek myths)
Another archetypal critic, Northrop Frye, contends that the origins of the myths are unimportant, that the literary critic needs to go past this and get on with the criticism. Lee, Alvin A. "Archetypal Criticism." Encyclopedia of Contemporary Literary Theory. Ed. and comp. Irena R. Makaryk. Toronto: U of Toronto Press,
- pp. 3-5.
http://www.library.utoronto.ca/utel/glossary/Archetypal_criticism.html
Glossary of Literary Theory, by Greig E. Henderson and Christopher Brown
- Sun (fire and sky are closely related): creative energy; law in nature; consciousness (thinking, enlightenment, wisdom, spiritual vision): father principle (moon and earth tend to be associated with female or mother principle); passage of time and life. a. Rising sun: birth: creation; enlightenment. b. Setting sun: death.
- Colors a. Red: blood, sacrifice, violent passion: disorder. b. Green: growth; sensation; hope; fertility; in negative context may be associated with death and decay. c. Blue: usually highly positive, associated with truth, religious feeling, security, spiritual purity (the color of the Great Mother or Holy Mother). d. Black (darkness): chaos, mystery, the unknown; death; primal wisdom; the unconscious; evil; melancholy. e. White: highly multivalent, signifying, in its positive aspects, light, purity, innocence, and timelessness; in its negative aspects, death, terror, the supernatural, and the blinding truth of an inscrutable cosmic mystery (see, for instance, Herman Melville's chapter "The Whiteness of the Whale" in Moby-Dick).
- Circle (sphere): wholeness, unity. Egg (oval): the mystery of life and the forces of generation.
- Serpent (snake, worm): symbol of energy and pure force (cf. libido): evil, corruption, sensuality; destruction; mystery; wisdom; the unconscious.
- Numbers: a. Three: light; spiritual awareness and unity (cf. the Holy Trinity): the male principle. b. Four: associated with the circle, life cycle, four seasons; female principle, earth, nature; four elements (earth, air, fire, water). c. Seven: the most potent of all symbolic numbers--signifying the union of three and four, the completion of a cycle, perfect order. perfection
- The archetypal woman (Great Mother--the mysteries of life death, transformation): a. The Good Mother (positive aspects of the Earth Mother): associated with the life principle, birth, warmth, nourishment, protection, fertility, growth, abundance (Demeter, Ceres). b. The Terrible Mother (including the negative aspects of the Earth Mother): the witch, sorceress, siren, whore, femme fatale--associated with sensuality, sexual orgies, fear, danger, darkness, dismemberment, emasculation, death; the unconscious in its terrifying aspects. c. The Soul Mate: the Sophia figure, Holy Mother, the princess or "beautiful lady"—incarnation of inspiration and spiritual fulfillment (cf. the Jungian anima).
- The Wise Old Man
- Garden: paradise; innocence; unspoiled beauty (especially feminine); fertility.
- Tree: "In its most general sense, the symbolism of the tree denotes life of the cosmos: its consistence, growth, proliferation, generative and regenerative processes. It stands for inexhaustible life, and is therefore equivalent to a symbol of immortality" (J.E. Cirlot, A Dictionary of Symbols, trans. Jack Sage [New York: Philosophical, 1962]: 328; cf. the depiction of the cross of redemption as the tree of life in Christian iconography). )
- Desert: spiritual aridity; death; nihilism, hopelessness. Shadow = parts of self not consciously recognized or evil. Land and Sky = the earth is a mother goddess and the sky a paternal figure.
B. Archetypal Motifs or Patterns
- Creation: perhaps the most fundamental of all archetypal motifs--virtually every mythology is built on some account of how the cosmos, nature, and humankind were brought into existence by some supernatural Being or beings.
- Immortality: another fundamental archetype, generally taking one of two basic narrative forms:
Jung was also careful to explain that archetypes are not inherited ideas or patterns of thought, but rather that they are predispositions to respond in similar ways to certain stimuli: "In reality they belong to the realm of activities of the instincts and in that sense they represent inherited forms of psychic behavior" (xvi).
In other words, myths are the means by which archetypes, essentially unconscious forms, become manifest and articulate to the conscious mind. Jung indicated further that archetypes reveal themselves in the dreams of individuals, so that we might say that dreams are "personalized myths" and myths are "depersonalized dreams."
