Why do we need stories? Anthropologists tell us that storytelling is central to human

existence. That it’s common to every known culture. That it involves a symbiotic exchange between teller and listener — an exchange we learn to negotiate in infancy.

Just as the brain detects patterns in the visual forms of nature — a face, a figure, a flower — and in sound, so too it detects patterns in information. Stories are recognizable patterns, and in those patterns we find meaning. We use stories to make sense of our world and to share that understanding with others. They are the signal within the noise.

Once upon a time, there was a man named Carl Jung

- Swiss psychiatrist

- Studied dreams, personalities,

and religious connections

- 1925 "Bugishu Psychological Expedition"

to East Africa

What he figured out:

- People all over the world have the same dreams and stories

- We have a “collective unconscious” from birth

- The collective unconscious comes out in the form of archetypes in our stories

What are archetypes?

•They are the basic building blocks of stories that all writers use to create a world to which readers can escape.

•Without communicating about archetypes, all cultures around the world use them to build their stories. This is called the Collective Unconscious (term coined by Carl Jung).

•Examples of archetypes are: the hero, the damsel in distress, the battle between good and evil, etc.

Patterns within archetypes: • Symbol: Concrete object representing an idea • Motif: Visual detail developed throughout a work. It

may reinforce character, enhance theme or foreshadow plot developments. A repeating pattern

• ARCHETYPES are what makes readers / listeners /

viewers relate to and enjoy a story. We connect with what we already know from our “collective unconscious.”

Recognizing Archetypes

Recognizing Archetypes

Recognizing Archetypes

Archetypal Theme: The quest: the hero undertakes a long journey towards a goal. Must perform impossible tasks, confront errors, learn the rules, suffer doubts and overcome insurmountable obstacles.

Can you think of a story patterned after this archetypal theme? Write down at least one idea

One example: The Journey

Another example: The 3 Questions

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, the desolation of which is shown by a leader’s illness and disability

•THE TASK—to save the kingdom, to win the fair lady, to identify himself so that he may assume his rightful position, the hero must perform some nearly superhuman deed.

THE INITIATION—this usually takes the form of 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. This awakening is often the climax of the story. One example: The Lion King Another example: The Breakfast Club Another example: Kung Fu Panda

•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 quite often concerning his faults; once the hero is at his lowest point, he must accept personal responsibility 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

Situational Archetypes •THE FALL—describes a descent from a higher to a lower state of being. The experience involves a defilement and/or a loss of innocence and bliss. The fall is often accompanied by expulsion from a kind of paradise as a penalty for disobedience and moral transgression.

•DEATH AND REBIRTH—grows out of a parallel between the cycle of nature and the cycle of life. Thus, morning and springtime represent birth, youth, or rebirth; evening and winter suggest old age or death.

•NATURE VS. MECHANISTIC WORLD—Nature is good while technology and society are often evil.

•BATTLE BETWEEN GOOD AND EVIL—Obviously the battle between two primal forces. Mankind shows eternal optimism in the continual portrayal of good triumphing over evil despite great odds.

•THE UNHEALABLE WOUND—The wound is either physical or psychological and cannot be healed fully. This wound also indicates a loss of innocence. These wounds always ache and drive the sufferer to desperate measures.

Symbolic Archetypes •THE RITUAL—The actual ceremonies the initiate experiences that will mark his rite of passage into another state (weddings, funerals)

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

•WATER VS. DESERT—water is necessary to life and growth and so it appears as a birth or rebirth symbol; the appearance of rain in a work can suggest spiritual birth or rebirth; characters who live in the desert are often “dead” to morals or the “good side”

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

•INNATE WISDOM VS EDUCATED STUPIDITY—uneducated characters can often be wise using their common sense while some very educated characters have no common sense

Symbolic Archetypes

•SUPERNATURAL INTERVENTION—the gods most often intervene on the side of the hero to assist him in his quest

•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

•FIRE VS. ICE—fire can represent knowledge, light, life, and rebirth while ice can represent ignorance, darkness, sterility, and death

•MAGIC WEAPON—some object used to fight the forces of evil that has magical properties

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 burned rather than buried

•YOUNG MAN 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

•THE INITIATE—young heroes or heroines who go through training; usually innocent and wear white

•MENTOR—teacher or counselor to the initiate; often are father or mother figures to the hero or heroine The Lion King

•FATHER-SON CONFLICT—father and son are separated and do not meet until the son is an adult; often the mentor is loved and respected more

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

Finding Nemo

•LOYAL RETAINERS—somewhat like servants to the hero who are heroic themselves; their duty is to protect the hero and reflect the nobility of the hero; they are expendable

•FRIENDLY BEAST—a beast on the side of the hero shows that nature sides most often with the forces of good

•DEVIL FIGURE—evil incarnate; offers worldly goods, fame, or knowledge to the hero in exchange for possession of the soul The Little Mermaid

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

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

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)

•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 Pocahontas

•TEMPTRESS—sensuous beauty; brings about the hero’s downfall because he is physically attracted to her

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

•DAMSEL-IN-DISTRESS – a female character who needs the hero to rescue her from wither emotional or physical danger

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

•CREATURE OF NIGHTMARE—animal or creature disfigured or mutated; monsters who are the antagonists in the story

SHREK Archetypes •HERO—Shrek…literally doing superhuman deeds ( fighting fire breathing dragon)

•QUEST—to find and rescue Princess Fiona

•TASK—to get his swamp back from the fairy creatures

•HUNTING GROUP OF COMPANIONS—Donkey is there to make Shrek’s humanity come out and show that he is not just an ogre at heart

•FRIENDLY BEAST—Donkey

•DAMSEL IN DISTRESS—Princess Fiona in the highest tower

•HEAVEN VS. HELL—glowing embers and fire are shown to be the habitat of the dragon.

•LIGHT VS. DARKNESS—the castle is dark to represent evil; Fiona is first seen in a ray of light; as soon as they escape, they emerge into daytime since they have escaped evil

SHREK Archetypes •DEATH AND REBIRTH—when they escape the dragon, morning is dawning suggesting hope and rebirth

•BATTLE BETWEEN GOOD AND EVIL—Shrek and Donkey vs the Dragon

•STAR-CROSSED LOVERS—Dragons and Donkeys aren’t supposed to be together

•EVIL FIGURE WITH A GOOD HEART—Dragon appears at first as an Evil Figure, especially with the remains of the knights, but Donkey saves her and converts her to good

•CREATURE OF NIGHTMARE—Dragon before she falls in love with Donkey

•THE JOURNEY—Shrek and Donkey face their fears and conquer the dragon, finding Fiona to accomplish their task

Archetype Activity

Get in groups of four (4) by finding the other people who have a character from your story.

Work together to fill in each of the columns by discussing your group’s story.

With your group, determine the role each character played in the story.

Document your group’s final answer in the format of the three (3) columns on the paper provided.

You will have ten (10) minutes to complete this activity.

COLUMN 1: With your group, determine the role each character

played in the story.

COLUMN 2 Use the following questions to come up with ONE (1) word to describe each character

What type of character was he/she?

What type of relationship did the character have with each of the other characters?

How did the character feel throughout the story?

If your group is not familiar with one or more of the characters in your group, use the body language and facial expression clues each character gives in his/her picture.

COLUMN 3: Support Your Answer Try to think of at least two (2) things your character

did in the story that supports your answer in Column 2.

Write your support in Column 3.

Ariel

Flounder

Sebastian Ursula

Jaq & Gus Fairy Godmother

Stepmother

Nemo

Dori

Bruce

Crush

Dumbledore

Draco

Rupert

Magneto Rogue

Professor X

Scar

Rafiki

Timon and Pumba

Simba

Donkey Shrek

Lord Farquaad Princess Fiona Lord Farquaad

Neytiri

Jake

Neytiri’s Mother

Commander