creator archetype

female archetypes



Lord of the Flies by William Goldman employs as many setting tropes as possible. The lads are stranded on an island, pursued by the forest's horrors but protected by the lagoon, and often ascend the mountain to light the signal fire.
The first group of notions is made up of those that deal with nature being hostile and dangerous. With misty veils, deadly marshes, dead trees, ravens, carnivores, bats, and spiders, it looks such as something out of a horror film. Several classic fairy tales and myths, such as the Grimm's fairy stories, are set in such settings with witches and trolls. Ravens and crows, for example, are clever birds with a fatal and lonely symbolism: they are Odin's birds (Table 3). The worldwide warning sign for goods that kill, such as fire and the skull, is a dead standing tree. This arid, unproductive area should be avoided. Death cap is the only plant that grows here; everything else is dead. Approaching these places, on the other hand, has a great allure. Landscapes like this might be seen in literature, such as Dante's Divine Comedia (Alighieri, 2018) and Tolkien's Mordor in The Lord of the Rings (Tolkien, 2007). Extreme versions of these landscapes could be found in certain places of the globe, such as the Death Valley desert in California. Major natural calamities, such as volcanic eruptions and tsunamis, as well as protracted conflict, contribute to this kind of environment. The only places in the Nordic region that come close are locations impacted by massive forest fires.

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A list of tens of thousands of archetypes, on the other hand, isn't really practical. "Everything should be made as simple as possible, but not simpler," Einstein might have stated.

the shadow archetype



We humans have had an fascination in explaining the big existential story and locating ourselves and our actions in the world from the dawn of time, frequently via religious beliefs (Turner, 2005). As a result, Numerous components of the natural environment have been considered as more welcoming and holy than others. Numerous civilizations have examples, such as the ancient Greeks' Arcadia, the Persians' Paradise, and the Bible's Eden. We discover trees with nice, edible fruits, abundance of fresh water, and friendly animals in accounts of these locales (Prest, 1988; Gerlach-Spriggs et al., 1998). We meet Adam and Eve in the Garden of Eden in the Bible's Creation. Arcadia was identified in Ancient Greece as a region of bliss and beautiful perfection. The Gilgamesh Epic presents a garden of gods, a paradise, as a place where even diseases yield and we might restore our vigor and power (Stigsdotter, 2005). There are no structures in any of these settings; instead, wildlife and gardens take center stage. However, nature contains dangerous places, animals, and phenomena that are linked to evil demons or the devil in various religions (e.g., Christianity and Islam), and where the malefic underworld (e.g., Hades or Hell) is depicted as a dark place with forests where one gets lost, deserts and swamps, and extreme heat or cold. This is best seen in Dante's Divina Comedia, which has wonderful underworld images by Gustave Dor?¡ì| (Alighieri, 2018).
We acknowledge the occurrence with anxiety and flight, with a landscape ruled by Odin, the god of knowledge and death, and his ravens (Huginn and Muninn), as well as wolves (Geri and Freki) (Ellis Davidson, 1990). The dead kingdom of Hades is another connection: the realm of Hades is dark, foggy, and dreary. The great mass of the dead moves like shadows in a perpetual cloud that is impermeable to the light here. It's a bleak and desolate place, full of bodyless ghosts flitting over gray plains. The Homeric poets discovered that everybody, heroes and villains alike, died in Hades' darkness. The realm is explained as a gloomy, wet, and moldy region in Homeric hymns (Rayor, 2014). The phenomena that this cluster refers to has been dubbed "the Landscape of Death."

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Psychiatrist Carl Jung, maybe more than anybody else, equipped us with a map of the human mind. Numerous of the driving factors that drive human behavior were categorized by Jung via his analytical psychology. (Here's a link to a beginner's guide to Jungian psychology.)

hero archetypes



Nature or landscape archetypes are these old descriptions of the essence of Numerous natural environments. Natural area descriptions that are comprehensive, simply accessible, and relevant are required today: relevant, not least when it comes to the relevance of nature areas for human health and well-being. Bourassa (1988) offered a framework for landscape architecture and planning that goes like this: He claimed that archetypes, as explained by Jung, may be useful in evaluating landscapes. Modern environmental psychology theories, according to Bourassa (1988), may be recognized as being in accordance with CG Jung's beliefs on archetypes. Nash (1997) proposed that CG Jung's notion of archetypes may be utilized to examine how landscapes have been seen and understood throughout history little over a decade later. Hreko et al. (2015), Wilkinson (2015), Wardropper et al. (2016), Cullum et al. (2017), Jin and Du (2017), Catalani et al. (2018), Hartel et al. (2018), Nogu?¡ì| and Wilbrand (2018), Olszewska et al. (2018), Xing and Chen (2018), and Evers et al. (2018) all use the term archetypes in their landscape descriptions (2019). Several of the scholars argue that it is vital to capture and convey a holistic meaning in the environment in landscape planning and landscape design, and that archetypes are the answer. "Several contemporary works of landscape ecologists deal with the problem of landscape type determination with the emphasis on the synergy of multidimensional landscape perception," according to Hreko et al. (2015). The writers discuss the physical details of the landscape and their traits, as well as the assessment of landscape changes in terms of landscape wide variety and the notion of a "cultural-spiritual entity." "We propose the use of archetypes as a way of moving between conceptual framings, empirical observations, and the dichotomous classification rules upon which maps are based," Cullum et al. (2017) write. A idea for a complete category or class of items is called an archetype. Archetypes could be thought of as abstract exemplars of classes, conceptual models that connect form and process, and/or implicit mental representations." In these two papers (Hreko et al., 2015; Cullum et al., 2017), the connection to CG Jung's archetypal ideas is tenuous. The connection to Jung's ideas is significantly more evident in other articles: Wilkinson (2015) aspires to create more meaningful landscape architecture through a better understanding of the human-nature relationship. She proposes that one method to expand this understanding is to use Jung's archetypal ideas. Olszewska et al. (2018) use Jung (1964) when forming categories for what makes specific landscapes contemplative, and this is primarily true of their suggested category of "archetypal elements," such as stones, an ancient tree, or a route. "The design of a public space should attach importance to the change in people's emotional experience according to their surroundings," Xing and Chen (2018) say, citing CG Jung. Emotion arises from the collective psyche of humans, and its substance is archetypal."
The second group includes weather extremes that are directly hazardous to human life and health, such as hurricanes and floods caused by rain and storms. There's also the snake in this group, an animal that many people dislike and dread (Table 4). Storms are a prominent theme in many faiths, such as the Bible's story of Noah's Ark, which includes a deluge of the world. Storms are also prevalent in Numerous contemporary texts and films.

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Robert Moore, a neo-Jungian, is maybe my favorite (and most practical) paradigm for comprehending archetypes. Moore and Gillette emphasize the four fundamental archetypes in the male psyche, as well as the eight bipolar shadow archetypes that go with them, in King Warrior Magician Lover.

male archetypes



Through Jung's notion of archetypes, Bourassa (1988), Nash (1997), Wilkinson (2015), and Xing and Chen (2018) all see tremendous opportunity to advance both theory and practice in landscape architecture and landscape planning. The archetypal notion could be traced back to Plato and ancient Greek civilisation. Plato's "Eidos" were pure mental forms inscribed in a person's soul before they were born into the world (Williamson, 1985). They were communal in the sense that they encapsulated the phenomenon's core traits rather than its unique particularities. Philo of Alexandria elaborated on Eidos' ideas and coined the word archetypes (Hillar, 1998). Jung is credited with developing the notion of mental archetypes as we know them today (1968). Archetypes are fundamental, universal templates for concepts in his psychological system. Olszewska et al. (2018) offer a category of "archetypal elements," such as stones, an ancient tree, or a route, as an example. CG Jung, on the other hand, does not limit himself to writing about archetypal aspects. The archetypal theory of Jung could be shown as a series of spherical layers (Sharp, 1991). The conscious layer is at the top, followed by the personal unconscious, which contains a wide variety of unconscious structures or complexes. The material of this layer is unique to each individual, and the structures you've formed are based on your predispositions, experiences, and how you've dealt with them. The collectively unaware are the next layer, with a range of inherited archetypes, such as symbolic archetypes or factors such as serpent, tree, sun, moon, and fire (Jung, 1964, 1968; Sharp, 1991). There are also situational archetypes or events, such as birth, death, marriage, and lost love, as well as persona archetypes such as father, hero, or deity. Archetypes, according to Jung, emerged via evolutionary processes. The archetypes have an impact on how a person perceives and interprets what he or she sees. They could elicit emotions and sensations like as fear and delight that are linked to archetypes such as father, hero, or deity. The subconscious manifests itself via symbols seen in everyday life, such as dreams, art, and religion, as well as human behavior patterns and connections (Jung, 1964, 1968; Sharp, 1991). Similarities between legends/myths from many civilizations, according to CG Jung, explain the presence of universal archetypes (Boeree, 2017).
The snake is connected with thunder, storms, and lightning in Numerous cultures throughout the globe. The struggle between the thunder god Thor and the wicked and huge serpent J?rmungandr is depicted in the Nordic Pre-Christian mythology (Ellis Davidson, 1990). It's about nature's vast and awesome force, which might occasionally manifest as a leviathan rage, when man is frequently little and helpless.

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