father archetype



We recognize 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 such as 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 everyone, heroes and villains alike, died in Hades' darkness. The realm is described 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."
The Joker is a identity from DC Comics' Batman series who worships chaos. This is in stark contrast to Bruce Wayne, who has dedicated his life to restoring order and safety to Gotham. Lord Voldemort, the villain of Harry Potter, seeks strength in order to transcend all weaknesses, primarily the mortal weakness that terrifies him the most: death. Voldemort pulls himself back from the edge of death, even when he hardly lives anymore, while Harry confronts his imminent fate with dignity. These villains all have one thing in common: their activities not only operate against the heroes, but they also generate the necessity for the heroes' actions to begin with.

archetype examples —


We humans have had an curiosity in explaining the big existential tale and locating ourselves and our actions in the world from the dawn of time, frequently via religious beliefs (Turner, 2005). As a result, many particulars 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 acknowledged 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).



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 Numerous people dislike and dread (Table 4). Storms are a prominent theme in many faiths, such as the Bible's tale of Noah's Ark, which includes a deluge of the world. Storms are also prevalent in Numerous contemporary texts and films.
There are Numerous more literary persona archetypes to discover. Knowing the five identity archetypes listed above, on the other hand, should help you identify more archetypes in your favorite literature. Which sorts of characters tend to reappear frequently? What do these different sorts of characters have in common? If you can easily answer these questions, you've probably come across a identity archetype.

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character archetype


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) provided a framework for landscape architecture and planning that goes such as this: He claimed that archetypes, as defined by Jung, could be useful in evaluating landscapes. Modern environmental psychology theories, according to Bourassa (1988), might be regarded as being in accordance with CG Jung's beliefs on archetypes. Nash (1997) proposed that CG Jung's notion of archetypes might 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 aspects 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 may be thought of as abstract exemplars of classes, conceptual models that connect form and process, and/or implicit psychological 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 especially 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 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 could occasionally manifest as a leviathan rage, when man is frequently little and helpless.
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archetypes in movies


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 may be traced back to Plato and ancient Greek civilisation. Plato's "Eidos" were pure psychological 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 psychological archetypes as we know them today (1968). Archetypes are fundamental, universal templates for concepts in his mental 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 may 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 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 components 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 identity 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 may 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, describe the presence of universal archetypes (Boeree, 2017).



The phenomena we discover in the third cluster is a desire for a strong and majestic natural environment that can be mastered by humans. The temptation is in the bush, far from civilization, where you have some protection from the fire and a place to hide. The fire symbolizes security and comfort (Table 5). Rafts and ruins are among the themes that define the expedition. It's all about overcoming obstacles and exploring high mountains, the sea, and raging rapids. During the journey, the main emphasis is on survival, but it is also possible to daydream, for example, around the campfire. Such problems might be perilous or not.
Frodo and the Fellowship of the Ring are tasked with destroying the ring, and hence evil. However, as component of the Hero's Journey, Frodo faces hardships that put his goodwill and fortitude to the test.

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