...The presence of archetypes is an essential element of the quest storyline, both in American and foreign literature. Pioneers of the archetype concept include scholars Joseph Campbell, Christopher Vogler, and Carl Jung, whose notions of archetypal literature developed into what most academics accept as the characteristic blueprint for a quest story today. Though these archetypes were first described just over a hundred years ago, they have persisted throughout literary and visual art for millennia. The most important archetype that Vogler describes in his Memo That Started It All is The Hero. He describes Hero characters as the central figures of stories that often make influential accomplishments on behalf of their respective civilizations...
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...Ladee Calhoun Hamilton British Literature 1 October 2015 The Ruler After the fall of Roman Empire was the rise of a new religion, Christianity. The Christianity religion was the doctrine or belief that there is only one god which differ the Roman culture. The poet as historian is known as the scop in the Anglo-Saxon culture. To understand culture, one has to understand the belief set. The hero is the most dominant archetype in Beowulf because it deals with the fraternity warrior’s culture. Although the pluralism of Anglo-Saxon culture is very similar to our American culture, the archetype of The Ruler takes place in America today because everyone wants to take control and have power over their own lives and others around. In Literature, an Archetype is a typical character, an action or a situation that seems to represent such universal pattern or human nature. There are many set archetypes; The Innocent, The Lover, and The Rebel. However, the one that dominates the most in Anglo-Saxon culture is the Hero. “I’ve never known fear, as a youth I fought in endless battles. I am old, now, but will fight again, seek fame still, if the dragon hiding in his tower dares to face me” (Beowulf’s Last Battle 607-610). In Anglo-Saxon culture being boastful and prideful is praised because it is a characteristic of a Hero. The poem itself was named after Beowulf to show that he was the dominant hero, the one who stood in the spotlight. “Then he stepped to another still body, clutched at...
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...Catch 22: A Postmodern Archetype American author Joseph Heller is considered to be a part of the postmodern era of literature which occurred between the decades of 1940 and 1970. (“Postmodernism”). The decade of the release of Catch 22 and other novels such as Slaughterhouse Five, Lost in the Funhouse, and Gravity’s Rainbow is often marked as the peak decade of the postmodern era. (Matterson). The content of Joseph Heller’s Catch 22 coincides highly with the typical characteristics of postmodern literature. Catch 22 contains the anti-hero archetype, unusual narrative techniques such as fragmentation, paradox, and unreliable narrator, as well as strong connections to WWII, which was a precursor to the postmodern era and a common topic of postmodern...
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...resilience shown by Winston keeps the reader rooting for him even when he is captured for his thought crime. This hope, further developed as Winston defies O’Brien as he is being tortured, is short lived when the reader is awakened to Winston’s failure in the end. According to Tim Adams, educator from TED Ed, “All too often though the anti-hero is killed or brainwashed to return to conformity with the masses”(TED Ed). In accordance with the anti-hero archetype, Winston is brainwashed and later killed. When Winston is caught for his thought crime, he is taken to the Ministry of Love, where he is tortured and brainwashed back into conformity. Orwell writes, “But it was all right, everything was all right, the struggle was finished. He had won the victory over himself. He loved Big Brother” (Winston 298). The brainwashing of Winston is a powerful statement created by Orwell to warn the reader of how the Party abuses their power to control the minds of the civilians. In an excerpt of an article from Magill’s Survey of World Literature it...
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...individual who: * Holds 2+ contradictory beliefs, ideas, of values simultaneously * Is confronted by new info that conflicts with existing BIV Is/ought dilemma: us aging -> the world as we wish to be OR the world as it actually is HISTORICAL LENS/NEW HISTORICAL LENS Historical criticism -> insisted we need to know a literary piece, that we need to know authors bio, social background, ideas during that time, cultural milieu (environment) New historicism New Historicism: seeks to find meaning in a text by considering the work within framework of prevailing ideas/assumptions of its era. *All about paying close attention to historical context of literary works (e.g: poems, novels, plays) GOALS: 1) Study how a work of literature reflects its historical/sociocultural context 2) Understand how literary works comments on and relates to its context Therefore, approach is interdisciplinary Example of this lens: Always by Erasure MARXIST LENS (Karl Heinrich Marx + Friedrich Engles) * A form of critique for interrogating all societies and their texts in terms of certain specific issues like race, class, and the attitudes shared within a given culture (see terms) * Marxist critique may begin such an analysis by showing how an authors text reflects his/her ideology thru an examination of the fictional worlds characters, settings, society, or any other aspect of text leads a look into: 1.Authors social class 2.Its effect upon the authors society 3.Examines...
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...Jackson Martin #1 The Myth-and Symbol School is generally regarded as the first theoretical contribution of American Studies to scholarly interpretations of the past. Richard Slotkin is part of a group called “Old West” historians who ascribe to the Myth-and-Symbol School when interpreting American history. This thought-process stresses a collection of popular sentiments of the Frontier era in order to create an environment that has some structure. A result of this approach is that it allows continuity to the reader when studying the frontier. For instance, Slotkin notices in his analysis of “The Adventures of Col, Daniel Boone that: “Filson creates a character who becomes the archetypal hero of the American frontier, copied by imitators and plagiarists and appearing innumerable times under other names and in other guises -- in literature, the popular arts, and folklore -- as the man who made the wilderness safe for democracy” (Slotkin 268-69) This shows how his character became an archetype to himself and all other frontiersmen. Because of this, the circumstances may change in the frontier, but its actors do not. As Slotkin describes the character of he furthers this argument and identifies “the most distinctive trait of Boone’s character was his love for the wild land” (Slotkin 298). While this approach is valuable due to minimal historical documentation, its methodology is intrinsically too simple to be taken seriously. Additionally, “Old West” perspectives usually...
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...Extending the Human Resource Architecture: Relational Archetypes and Value Creation Sung-Choon Kang Cornell University Shad S. Morris Cornell University Scott A. Snell Cornell University, ss356@cornell.edu Follow this and additional works at: http://digitalcommons.ilr.cornell.edu/cahrswp Part of the Human Resources Management Commons This Article is brought to you for free and open access by the Center for Advanced Human Resource Studies (CAHRS) at DigitalCommons@ILR. It has been accepted for inclusion in CAHRS Working Paper Series by an authorized administrator of DigitalCommons@ILR. For more information, please contact hlmdigital@cornell.edu. Extending the Human Resource Architecture: Relational Archetypes and Value Creation Abstract Theories of knowledge-based competition focus on internal resources as the source of value creation. The HR architecture (Lepak & Snell, 1999) brought human resource management directly into this forum by developing a model of human capital allocation and management. We attempt to extend the HR architecture by introducing a framework of relational archetypes—entrepreneurial and cooperative—that are derived from unique combinations of three dimensions (cognitive, structural, and affective) that characterize internal and external relationships of core knowledge employees. Entrepreneurial archetypes facilitate value creation from external partnerships while cooperative archetypes facilitate value creation from internal partnerships...
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...The Great Gatsby The Great Gatsby belongs to what Harold Bloom tags the “tomb” of literary archetypes, a family of fiction that espouses every facet of the expressive use of language (everything from Shakespeare’s plays to Dickens’ prose). As a participant in this tomb, The Great Gatsby has adopted a convenient persona in the world of twentieth century literature as “the great American novel,” a work that embodies the American thematic ideals of the self-made man, the great American character—Jay Gatsby. In its infancy, the novel received only a taste of the “epic grandeur” that it would later accumulate. Snubbed by certain critics for its all-too-perfect design and shrugged aside by the popular masses, The Great Gatsby was a feat of fiction that, in its time, never knew its fame. The Roots of a Novel: In the Spring of 1924, The Fitzgeralds left for France. There, F. Scott Fitzgerald hoped to indulge his literary appetite without distraction. He wrote The Great Gatsby during the summer and fall in Valescure near St. Raphael, hav... ... middle of paper ... ...atthew J.; Some Sort of Epic Grandeur: The Life of F. Scott Fitzgerald; Harcourt Brace Jovanovich, Publishers; New York; 1981; Pg. 221. [8] Bruccoli; Pg. 221. [9] Bruccoli; Pg. 221. [10] Bruccoli, Pg. 220. [11] Bruccoli, Pg. 220. [12] Bruccoli, Pg. 221-222. [13] Scribner III; Pg. 204. [14] Bruccoli, Pg. 494. [15] Bruccoli, Pg. 494. [16] Bruccoli, Pg. 494. ...
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...that benefits every member of society. Nature is preferable to the ills and evils of civilization. This gave rise to Mr. Rousseau’s idea of the Noble Savage, a romanticized version of prelapsarian man. A man who lives outside the burdens of society, Mr. Rousseau believed, will prosper and flourish more fully than those living under the burdens placed upon them by civilized living. The essential spirit of the Romantic Movement was one of revolt against established laws, traditions, dogmas, and formulas. It praised creativity over reason, emotions over logic, nature over society, and intuition over science. This idealistic focus cleared the way for a vast body of literature of great sensibility and passion. In their choice of heroes, the Romantic writers replaced the protagonists of classical, eighteenth-century literature with a more complex being: the Romantic hero. This hero is portrayed as a master of his own fate: a man who storms the heavens and lives to tell the tale. This exceptional figure wanders, unburdened by society, making his own path through the world. The Romantic writer focused on his character’s passions and inner struggles, emphasizing the examination of human personality, its moods, and mental possibilities. Though Romanticism rejects traditional religion, it turns to nature as a type of religion in itself—to shape, guide, and inspire the Romantic...
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...In her 1926 short story “Sweat” Zora Neale Hurston crafts an exploration of the strength of African-American femininity. This concept of hers is the beating heart of her story, yet it is so low profile that it is hardly heard. It is whispering when it could rightly yell, it is working for peace when it seemingly ought to rage. Yet, through her take on the archetype of the battered-yet-loyal wife, an archetype present in the mediums of literature, theater, and film, Hurston achieves a depiction of strength without violence. Hurston’s “Delia” is a giver, not a taker, and though at times caught between the conflict the two roles, Hurston endows her with the moral strength to be true to herself. However, Hurston does not make this an easy task....
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...From literature classics in the 40s to over-the-top animes in the present day, a great number of literature and entertainment works feature animals as pivotal characters to help propagate their story. These anthropomorphized characters act, talk and think like humans as they obtain our abilities, personality traits, and even moral codes. So the question is why do writers resort to the personification of animals rather than making use of the traditional human form? There are many reasons for this. Most often, they want to make new characters appear more familiar to readers through animal stereotypes. Sometimes, the use of specific animals is a reference to history or culture and a gateway to deeper discussions about human society. Other times,...
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...To evaluate wisdom, people use a myriad of different metrics depending on the context of the measurement. Yet, of all the possible measurements of wisdom, one that categorically does NOT provide an accurate measurement is the degree to which the wise person is happy. History is filled with heroic figures who have sacrificed their very lives in a quest to add their measure of wisdom to the world. One of the most notable figures in this category was Martin Luther King, Jr. So too, literature is filled with numerous examples of tragically unhappy characters who nonetheless have achieved a state of deep inner wisdom. What all of these people have in common is the experience of suffering that led to great personal wisdom. One such archetype is...
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...A prominent figure of modern American literature, confessional poet, Sylvia Plath, works hold grand significance, for it lead to the probe of a feminist-martyr to patriarchal society, sex-based roles, and psychiatric care. Noted for the blend of intense imagery and humorous use of alliteration and rhyme, Plath associating her works with her personal battles of anguish and depression, further solidified her mark on American history. Sylvia Plath was born in 1932 in Winthrop, Massachusetts, to an academically well-established family. Her father died when she was eight, marking the beginning of her lifelong internal battles of depression, hence her poem Daddy. Ambitiously driven and exceptional student, from a young age she kept journals, published poems in reginal magazines and newspapers. She later attended Smith and Cambridge University, where she met and married the poet, Ted Hughes, birthing two children. Throughout her life, Plath suffered deep depression and...
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...standpoint of a mother speaking to her son, and the selection of her words is vital to her characterization. Specifically, it is believed that this poem mirrors the life of his own mother who was born “only a generation away from slavery” and faced much civil injustice (Reyes 267). The vernacular the mother in the story uses accents the social status of her time period. Removing the “g” from the endings of multiple words and using slang words, such as “ain’t” and “I’se” gives us an authentic feel for a struggling, poverty-stricken black woman who would not have access to much, if any, formal education in the era during which the poem was written (Hughes 23). Much of Hughes’ writing revolves around the tribulations facing the African American community over the years. This poem is a prime example in which a simple choice of words can make all the difference in a poem’s meaning. If written in proper English, the poem would feel contrived, stripped of the earnestness of its subject matter. Also, the mother’s use of first person when telling her personal history implies that she is a single mother doing her best to raise her child alone. At no time, does she use the third person, which one would expect from someone married or in a relationship dedicated to keeping a family together. This helps illuminate an underlying theme of the trials of motherhood, specifically around the lower-class single mother. This related to Hughes’ own life once again in which his father “abandoned...
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