1. Archetypes
Why do we need stories?

2. Why do we need stories?
To explain natural phenomenon such as great floods and the creation of the world
To answer such questions such as why we are born and why we die
To help us escape reality by entering a world where the good guy wins, the forces of evil are defeated, and love conquers all
To help define the roles of good and evil such as the hero and the villain so that we might recognize them in reality

3. Personal Unconscious vs. Collective Unconscious
What is an “archetype”?
Original pattern or model of which all things of the same type are representations.
A perfect example
Recurring patterns of situations, characters, or symbols existing universally and instinctively in the collective unconscious.
Carl Jung — spent his whole career studying dreams. He believed that the process of maturation (the process of growing up) was revealed to us in our dreams and that our unconscious mind "speaks" to us in the form of dreams. These dreams have their own language; they speak to us in symbols. The symbols are filtered through our dreams and come from our unconscious mind. He theorized that we are dreaming all the time - it's only the distractions of waking life that leave us unaware of the fact. Dreams contain certain basic patterns that contain messages carried from our unconscious mind to our conscious mind.
each symbol in a dream is called a motif; these symbols or motifs have two meanings:
1.      a personal meaning for the dreamer
2.      a collective meaning; for example: you dream about your grandmother, she has a personal meaning because she's your grandmother, but she also has a collective meaning because she symbolizes a wise old person (a guardian figure).
3.      these collective meanings are called archetypes; they are the common themes that show up in every culture of the world.
4.      archetypes appear and reappear in world myths, legends, and themes in literature as well as our dreams.
5.      archetypes are stored in the collective unconscious that is the part of the mind that retains and transmits the common psychological inheritance of mankind. We study them because we can learn from them.
6.      most classify archetypes into three basic types:
a.      situation
b.      symbolic, and
c.       characters
7.      others contend there are seven major archetypes; Carol Pearson claims that there are twelve major archetypes for the hero alone (See Below).
Personal Unconscious vs. Collective Unconscious
Freud vs. Jung
Freud: personal experiences that have been forgotten or repressed, yet linger in the personal unconscious mind and motivate, shape, or control much of our behavior
Jung: a collection of the experiences and memories of humanity as a race; somehow the experiences of mankind are embedded into the minds of all men and women; a mixture of the experiences of humanity and of archetypes of basic themes and motifs; often referred to today as “genetic memory” or “racial memory.”
Jung believed the basic foundation of the collective unconscious is the archetype, a universal theme/symbol/situation that runs constant in the minds of mankind. The archetype is an unconscious pattern that has developed through the ages. The archetype influences the way people think, as they repeatedly use the same ideas as previous generations, only in different surroundings and different situations. The archetypes present themselves in man’s endeavors of art, mythology, literature, and dreams.
Carl G. Jung

4. What characteristics do archetypes share?
Not individual but the part we share with all humanity.
Connect us to our past and connect our past to a common source
Not directly knowable but instead express themselves in forms.
Universal
Cannot be explained by interaction among cultures—geography and history often made this impossible.
Recurrent, appearing in slightly altered forms to relate present day situations to the past for meaning

5. Three types of archetypes
Character Archetypes
Situational Archetypes
Symbolic Archetypes

6. Character Archetypes 6

7. Character Archetypes
THE HERO— mother is sometimes a virgin; circumstances of birth are unusual; some attempt is made at birth to kill him; raised by foster parents, returns to his kingdom to right wrongs; marries a princess; becomes king; meets a mysterious death; body is sometimes burned or missing rather than buried 7

8. Character Archetypes
YOUNG ONE FROM THE PROVINCES— hero is taken away as a young man and raised by strangers; when he returns home, he can view problems objectively and can solve them easier 8

9. Character Archetypes
THE INITIATE— young heroes or heroines who go through training; usually innocent and may wear white 9

10. Character Archetypes
MENTOR—teacher or counselor to the initiate; often are father or mother figures to the hero or heroine 10

11. Character Archetypes
PARENT/CHILD CONFLICT— father and son are separated and do not meet until the son is an adult; often the mentor is more loved and respected than the parent 11

12. Character Archetypes The Herald—
Heralds act to signal change and invite the character to answer the call to adventure. Their job is to motivate the hero into action, despite the hero’s frequent desire to maintain the status quo. Heralds can be people, objects or acts of nature. 12

13. Character Archetypes Threshold Guardians—
The Threshold Guardian's job is to ensure the protagonist is worthy of passing the threshold, and thus they act as part of the tests the protagonist must face in the journey. They can also be inanimate objects or forces of nature 13

14. Character Archetypes
HUNTING GROUP OF COMPANIONS— loyal companions willing to face any number of dangers to be together 14

15. Character Archetypes
LOYAL RETAINERS- somewhat like servants to the hero who are heroic themselves; their duty is to protect the hero and reflect the honor and nobility of the hero 15

16. Character Archetypes FRIENDLY BEASTS –
These creatures aid or serve the hero/heroine and symbolize how nature is on the side of the hero/heroine 16

17. Character Archetypes
DEVIL FIGURE— evil incarnate; offers worldly goods, fame, or knowledge to the hero in exchange for possession of the soul 17

18. Character Archetypes
CREATURE OF NIGHTMARE— animal or creature disfigured or mutated; monsters who are the antagonists in the story 18

19. Character Archetypes
EVIL FIGURE WITH GOOD HEART— redeemable evil figure saved by the nobility or love of the hero. 19

20. Character Archetypes
SCAPEGOAT—animal or human who is unjustly held responsible for others’ sins; sacrificed but they often become more powerful force dead than alive 20

21. Character Archetypes
OUTCAST—figure banished from a social group for some crime against his fellow man (could be falsely accused of a crime or could choose to banish himself from guilt), or for a questionable past 21

22. Character Archetypes
EARTHMOTHER— offers spiritual and emotional nourishment to those she meets; shown in earth colors and has large breasts and hips symbolic of her childbearing capabilities 22

23. Character Archetypes
TEMPTRESS— sensuous beauty; tries to bring about the hero’s downfall because he is physically attracted to her 23

24. Character Archetypes
PLATONIC IDEAL— female figure who provides intellectual stimulation for the hero; he is not physically attracted to her 24

25. Character Archetypes
THE UNFAITHFUL WIFE— a married woman who finds her husband dull or unattractive seeks a more virile or interesting man. Archetypically, the woman is the center of the family and is responsible for keeping it together. 25

26. Character Archetypes
DAMSAL IN DISTRESS— The vulnerable woman must be rescued by the hero. She is often a trap by the devil figure or the temptress to ensure the unsuspecting hero cannot finish the journey. 26

27. Character Archetypes
STAR-CROSSED LOVERS— two lovers forbidden to be together because of the rules of society or family; often ends tragically 27

28. Situational Archetypes28

29. Situational Archetypes
THE QUEST—search for someone or some object, which when it is found and brought back will restore life to a wasted land, and the desolation of which is mirrored by a leader’s illness and disability.
THE TASK—to save the kingdom, to win the fair lady, the hero performs some superhuman deed to identify himself so that he may assume his rightful position

30. Situational Archetypes
THE JOURNEY—the hero goes in search of some truth or information to restore life to the kingdom; he must descend into a real or psychological hell and is forced to discover the blackest truths about himself (usually his faults); he must then decide to return to the world of the living; this could also appear as a group of isolated people (trapped on a boat, bus, island) to represent society

31. Situational Archetypes
THE INITIATION— the awakening of a teenager or an initiation into adult life; the adolescent comes into his/her maturity with new awareness and problems along with a new hope for the community
THE RITUAL— actual ceremony that marks a new stage (rite of passage) in life (weddings, funerals, coronations)

32. Situational Archetypes
THE MAGIC WEAPON— The weapon the hero needs in order to complete the quest; represents the extraordinary quality of the hero because no one else can wield the weapon or use it to its full potential. It is usually given by a mentor figure and can only be used by the hero.

33. Situational Archetypes
THE FALL—descent from a higher to a lower state of being; characters experience a loss of innocence and often experience an expulsion from a kind of paradise as a penalty for their disobedience and moral transgression

34. Situational Archetypes
THE UNHEALABLE WOUND— a wound that is either physical or psychological; it cannot be healed fully; indicates a loss of innocence; always aches and may drive the sufferer to desperate measures 34

35. Situational Archetypes
DEATH AND REBIRTH— deals with the similarities between the cycle of nature and life; morning and springtime represent birth, youth, or rebirth; evening and winter suggest old age or death 35

36. Situational Archetypes
NATURE vs. MECHANISTIC WORLD — that which is natural, or part of the natural order is good. Technology which separates people from nature, or the natural world, is bad. 36

37. Situational Archetypes
BATTLE BETWEEN GOOD AND EVIL— good triumphs over the opposing force of evil despite great odds, keeping mankind hopeful (optimism)

38. Symbolic Archetypes 38

39. Symbolic Archetypes
LIGHT VS. DARKNESS— light suggests hope, renewal, or intellectual illumination; darkness suggests the unknown, ignorance, or despair.

40. Symbolic Archetypes
INNATE WISDOM VS EDUCATED STUPIDITY— Uneducated characters can often be wise using their common sense while some very educated characters have no common sense 40

41. Symbolic Archetypes
SUPERNATURAL INTERVENTION— the gods or special forces most often intervene on the side of the hero to assist him in his quest

42. Symbolic Archetypes
FIRE VS. ICE— fire, a positive archetype, can represent knowledge, light, life, and rebirth while ice can represent ignorance, darkness, sterility, and death 42

43. Symbolic Archetypes
HAVEN VS. WILDERNESS— for the hero, places of safety are required for time to regain health and resources; these hideouts are often in unusual places

44. Symbolic Archetypes
WATER vs. DESERT— Because water is necessary to life and growth, it commonly appears as a birth symbol, as baptism symbolizes a spiritual birth. Rain, rivers, oceans, etc. also function the same way. The desert suggests the opposite.

45. Symbolic Archetypes
HEAVEN VS. HELL— gods live in the skies or mountaintops; evil forces live in the bowels of the earth