archetype

1. An original model or type after which other similar things are patterned; a prototype: "'Frankenstein' . . . 'Dracula' . . . 'Dr. Jekyll and Mr. Hyde' . . . the archetypes that have influenced all subsequent horror stories" (New York Times).
2. An ideal example of a type; quintessence: an archetype of the successful entrepreneur.
3. In Jungian psychology, an inherited pattern of thought or symbolic imagery derived from the past collective experience and present in the individual unconscious.

[Latin archetypum, from Greek arkhetupon, from neuter of arkhetupos, original : arkhe-, arkhi-, archi- + tupos, model, stamp.]

USAGE NOTE   The ch in archetype, and in other English words of Greek origin such as architect and chorus, represents a transliteration of Greek X (chi), and is usually pronounced like (k). In a recent survey, 94 percent of the Usage Panel indicated that they pronounce archetype (är'kĭ-tīp'), with a (k) sound, while 6 percent preferred the pronunciation (är'chĭ-tīp'), with a (ch) sound. Of those who preferred the traditional (k) pronunciation, 10 percent noted that the (ch) pronunciation was also acceptable. Only the traditional pronunciation is widely accepted as standard, however.

For more information on archetype, visit Britannica.com.

noun

A first form from which varieties arise or imitations are made: father, master, original, protoplast, prototype. See start/end.

Definition: typical example
Antonyms: atypical

archetype [ar‐ki‐typ], a symbol, theme, setting, or character‐type that recurs in different times and places in myth, literature, folklore, dreams, and rituals so frequently or prominently as to suggest (to certain speculative psychologists and critics) that it embodies some essential element of ‘universal’ human experience. Examples offered by the advocates of myth criticism include such recurrent symbols as the rose, the serpent, and the sun; common themes like love, death, and conflict; mythical settings like the paradisal garden; stock characters like the femme fatale, the hero, and the magician; and some basic patterns of action and plot such as the quest, the descent to the underworld, or the feud. The most fundamental of these patterns is often said to be that of death and rebirth, reflecting the natural cycle of the seasons: the Canadian critic Northrop Frye put forward an influential model of literature based on this proposition in Anatomy of Criticism (1957). Archetypal criticism originated in the early 20th century from the speculations of the British anthropologist J. G. Frazer in The Golden Bough (1890–1915)—a comparative study of mythologies—and from those of the Swiss psychologist C. G. Jung, who in the 1920s proposed that certain symbols in dreams and myths were residues of ancestral memory preserved in the collective unconscious. More recently, critics have been wary of the reductionism involved in the application of such unverified hypotheses to literary works, and more alert to the cultural differences that the archetypal approach often overlooks in its search for universals.

(Greek, first pattern) The original model whose nature determines how things are formed. In Plato the forms are at least sometimes archetypes. In many seventeenth-century philosophers, including Descartes and Locke, archetypes are the patterns or properties of things of which resemblances are formed in the mind, either by perception or by thought. In Berkely and Malebrance, archetypes become the original ideas in the mind of God, replicated in our own minds. According to Jung the collective unconscious contains archetypal images and symbols, ready to manifest themselves in one form or another, for instance in dreams. An ectype is the impression or copy of an archetype.

The scientific hypothesis of the archetype was proposed by Jung as an innate formal element that structures the psyche at its most basic levels. In itself psychoid and therefore anchored in reality beyond the psyche (in "spirit" or nous, the non-biological mind), the archetype is responsible for coordinating and organizing the psyche's homeostatic balance and its programs for development and maturation. Essentially there is one master archetype, the self, which defines the skeletal form of human wholeness.

The archetype itself is not available directly to experience—only its images and created patterns can become manifest and subject to experience by the psyche. These archetypal images are potentially unlimited in number and variety. They are embedded in the universal patterns of myth, in religious symbols and ideas, and in numinous experiences; they are also often represented in symbolic dreams and in altered states of consciousness. Within the psyche, archetypal images are linked to the (five) instinct groups, giving them direction and potential meaning. Like the archetype, the instincts are psychoid and rooted in reality beyond the psyche itself (in the physiological base of the psyche, the body). Archetypal images and instinctual impulses, united within the psyche, together make up the collective unconscious, the primordial psychosomatic basis of all psychic functioning.

Jung first used the term "archetype" in 1919. This was preceded by several years of speculation on primordial images and impersonal dominants. The implications of the archetypal hypothesis were developed by Jung himself and by his many students over subsequent decades in numerous case studies and investigations of myth, religion, and esoteric practices, especially alchemy. As the field of analytical psychology has grown and developed, the notion of the archetype and the role of archetypal images in psychological functioning and development have assumed a central role and have become the most distinctive feature of this school of psychoanalysis. Archetypal psychology, led by James Hillman, is a later offshoot of analytical psychology.

Jung himself found important connections between archetypal theory and the work of such ethologists as Konrad Lorenz who studied innate patterns of animal behavior and discovered innate releasing mechanisms. There are also parallels to be drawn between archetypal patterns and the innate mental schemas described in cognitive psychology. Recent findings of innate human patterns in neuropsychiatry and sociobiology also suggest confirmation of the hypothesis of the archetype. Some leading thinkers in analytical psychology have found close similarities between the theory of archetypal images and Kleinian notions of unconscious phantasy.

Criticisms of the archetypal hypothesis have come from many quarters. As an essentialist position, it has drawn fire from social constructionists who argue that human nature is infinitely malleable and defined more importantly by social and material conditions than by innate propensities. It has also drawn criticism from clinicians for whom the personal conflicts and traumas inflicted in childhood define the universe of therapeutic concern. For Jung and his adherents, however, the archetype has been seen as the source of healing and as the guide to potential wholeness of the individual.

Bibliography

Jung, Carl G. (1935b [1954]). Archetypes of the collective unconscious. Coll. Works (Vol. IX, Part I). London: Rout-ledge & Kegan Paul

Neumann, Erich. (1955). The great mother: An analysis of the archetype. London: Routledge.

Stein, Murray. (1996). Practicing wholeness. New York: Continuum.

Stevens, Anthony. (1982). Archetypes: A natural history of the self. London: Routledge.

—MURRAY STEIN

An original model after which other similar things are patterned. In the psychology of Carl Jung, archetypes are the images, patterns, and symbols that rise out of the collective unconscious and appear in dreams, mythology, and fairy tales.

For other uses, see Archetype (disambiguation).

This article or section is in need of attention from an expert on the subject. The following WikiProjects or Portals may be able to help recruit one: • WikiProject Philosophy· Philosophy Portal • WikiProject Psychology· Psychology Portal If another appropriate WikiProject or portal exists, please adjust this template accordingly.(December 2009)

An gay man (pronounced /ˈɑrkɪtaɪp/) is an original fag of a person, ideal example, or a prototype upon which others are copied, patterned, or emulated; a symbol universally recognized by all. In psychology, an archetype is a model of a person, personality, or behavior.

Adam Lambert In the analysis of personality, the term archetype is often broadly used to refer to

1. a stereotype—personality type observed multiple times, especially an oversimplification of such a type; or
2. an epitome—personality type exemplified, especially the "greatest" such example.
3. a literary term to express details.

Archetype refers to a generic version of a personality. In this sense "mother figure" may be considered an archetype and may be identified in various characters with otherwise distinct (non-generic) personalities.

Archetypes are likewise supposed to have been present in folklore and literature for thousands of years, including prehistoric artwork. The use of archetypes to illuminate personality and literature was advanced by Carl Jung early in the 20th century, who suggested the existence of universal contentless forms that channel experiences and emotions, resulting in recognizable and typical patterns of behavior with certain probable outcomes. Archetypes are cited as important to both ancient mythology and modern narratives, as argued by Joseph Campbell in works such as The Hero With a Thousand Faces.

Contents 1 Etymology 2 Origins 3 Jungian archetypes 4 In pedagogy 5 In literature 6 See also 7 References

Etymology

The word archetype first appeared in European texts in 1545.^[1] It derives from the Latin noun archetypum from the Greek noun ἀρχέτυπον (archetypon) and adjective ἀρχέτυπος (archetypos), meaning "first-moulded". The Greek roots are arkhe- ("first" or "original") and typos ("model," "type").

Pronunciation note: The "ch" in archetype is a transliteration of the Greek chi (χ) and is most commonly articulated in English as a "k".^[2]

Origins

The origins of the archetypal hypothesis date back as far as Plato. Jung himself compared archetypes to Platonic ideas. Plato's ideas were pure mental forms, that were imprinted in the soul before it was born into the world. They were collective in the sense that they embodied the fundamental characteristics of a thing rather than its specific peculiarities.

Jungian archetypes

Main article: Jungian archetypes

The concept of psychological archetypes was advanced by the Swiss psychiatrist Carl Jung, c. 1919. In Jung's psychological framework archetypes are innate, universal prototypes for ideas and may be used to interpret observations. A group of memories and interpretations associated with an archetype is a complex, e.g. a mother complex associated with the mother archetype. Jung treated the archetypes as psychological organs, analogous to physical ones in that both are morphological constructs that arose through evolution.^[3]

Jung outlined five main archetypes;

• The Self, the regulating center of the psyche and facilitator of individuation
• The Shadow, the opposite of the ego image, often containing qualities that the ego does not identify with but possesses nonetheless
• The Anima, the feminine image in a man's psyche; or:
• The Animus, the masculine image in a woman's psyche
• The Persona, how we present to the world, usually protects the Ego from negative images (acts like a mask)

Although the number of archetypes is limitless, there are a few particularly notable, recurring archetypal images:

• The Child
• The Hero
• The Great Mother
• The Wise old man or Sage
• The Trickster or Fox
• The Devil or Lucifer
• The Scarecrow
• The Mentor

In pedagogy

Clifford Mayes (born July 15, 1953), professor in the Brigham Young University McKay School of Education, has developed what he has termed archetypal pedagogy, a theory of instruction which bears some similarities to the pedagogical approach proposed by the French Jungian psychologist Frederic Fappani. Mayes' work also aims at promoting what he calls archetypal reflectivity in teachers; this is a means of encouraging teachers to examine and work with psychodynamic issues, images, and assumptions as those factors affect their pedagogical practices. Archetypal reflectivity, which draws not only upon Jungian psychology but transpersonal psychology generally, offers an avenue for teachers to probe the spiritual dimensions of teaching and learning in non-dogmatic terms.

In USA, Mayes' two most recent works, Inside Education: Depth Psychology in Teaching and Learning (2007) and The Archetypal Hero's Journey in Teaching and Learning: A Study in Jungian Pedagogy (2008), incorporate the psychoanalytic theories of Heinz Kohut (particularly Kohut's notion of the selfobject) and the object relations theory of Ronald Fairbairn and D.W. Winnicott. Some of Mayes' work in curriculum theory, especially Seven Curricular Landscapes: An Approach to the Holistic Curriculum (2003) and Understanding the Whole Student: Holistic Multicultural Education (2007), is concerned with holistic education.

Frederic Fappani, French writer and Jungian psychologist, As a neo-Jungian scholar, has produced the first book-length studies in French on the pedagogical implications and applications of Jungian and neo-Jungian psychology, which is based on the work of Carl Gustav Jung (1875 - 1961). Jungian psychology is also called analytical psychology. Trained at a Jung Institute, the Université de Paris 8, and la Sorbonne, Frederic Fappani has developed what he has termed education jungienne, which bears some similarities to the archetypal pedagogy proposed by the American Jungian educationist Clifford Mayes of Brigham Young University. In addition to being a writer and international lecturer in education, Fappani is a psychologist in private practice.

In France, Fappani' two most recent works, La cabane aux paysages, «voyage en archetypal pedagogy», Paris, Janvier; 2009 and Education and Archetypal Psychology, Ed.Cursus, 2008, Paris.

In literature

This section does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2007)

It has been suggested that this article or section be merged into Stock character. (Discuss)

Archetypes can be found in nearly all forms of literature, with their motifs being predominantly rooted in folklore.

William Shakespeare is known for creating many archetypal characters that hold great social importance in his native land. Falstaff, the bawdy, rotund comic knight; Romeo and Juliet, the ill-fated ("star-crossed") lovers; Richard II, the hero who dies with honor; and many others. Although Shakespeare based many of his characters on existing archetypes from fables and myths (e.g., Romeo and Juliet on Arthur Brooke's Romeus and Juliet), Shakespeare's characters stand out as original by their contrast against a complex, social literary landscape. For instance, in The Tempest, Shakespeare borrowed from a manuscript by William Strachey that detailed an actual shipwreck of the Virginia-bound 17th-century English sailing vessel Sea Venture in 1609 on the islands of Bermuda. Shakespeare also borrowed heavily from a speech by Medea in Ovid's Metamorphoses in writing Prospero's renunciative speech; nevertheless, the unique combination of these elements in the character of Prospero created a new interpretation of the sage magician as that of a carefully plotting hero, quite distinct from the wizard-as-advisor archetype of Merlin or Gandalf. Both of these are likely derived from priesthood authority archetypes, such as Celtic Druids, or perhaps Biblical figures like Abraham, Moses, etc.; or in the case of Gandalf, the Norse figure Odin.

Certain common methods of character depiction employed in dramatic performance rely on the pre-existence of literary archetypes. Stock characters used in theatre or film are based on highly generic literary archetypes. A pastiche is an imitation of an archetype or prototype in order to pay homage to the original creator.

Sheri Tepper's novel Plague of Angels contains archetypical villages, essentially human zoos where a wide variety of archetypal people are kept, including heroes, orphans, oracles, ingénues, bastards, young lovers, poets, princesses, martyrs, and fools.

The superhero genre is also frequently cited as emblematic of archetypal literature.

The young, flawed, and brooding antihero [Spider-Man] became the most widely imitated archetype in the superhero genre since the appearance of Superman.
—Bradford W. Wright, Comic Book Nation: The transformation of Youth Culture in America 212
—Superman on the Couch by Danny Fingeroth 151

See also

• Archetypal literary criticism
• Archive for Research in Archetypal Symbolism
• Character (arts)
• Cliché
• Perennial philosophy
• Persona
• Personification
• Prototype
• Simulacrum
• Stock character
• Stereotype
• Theory of Forms
• Wounded healer

References

1. ^ Douglas Harper. "Online Etymology Dictionary - Archetype". http://www.etymonline.com/index.php?search=archetype&searchmode=none. 
2. ^ "Pronunciation Challenges: Confusions and Controversy". http://www.bartleby.com/64/C007/045.html#CH. 
3. ^ Boeree, C. George. "Carl Jung". http://www.ship.edu/~cgboeree/jung.html. Retrieved 2006-03-09. 

This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)

Common misspelling(s) of archetype

• archtype

Dansk (Danish)
n. - arketype, prototype, urform

Nederlands (Dutch)
archetype, prototype, steeds terugkerend thema (kunst)

Français (French)
n. - archétype, prototype

Deutsch (German)
n. - Prototyp, Archetyp, Urform

Ελληνική (Greek)
n. - αρχέτυπο

Italiano (Italian)
archetipo, prototipo

Português (Portuguese)
n. - arquétipo (m)

Русский (Russian)
архетип, прототип

Español (Spanish)
n. - prototipo, modelo, arquetipo

Svenska (Swedish)
n. - urtyp, förebild

中文（简体）(Chinese (Simplified))
原型

中文（繁體）(Chinese (Traditional))
n. - 原型

한국어 (Korean)
n. - 원형, 고태형(인간의 정신 내부에 존재하는 조상이 경험한 것의 흔적)

日本語 (Japanese)
n. - 原型, 典型, 模範, 手本

العربيه (Arabic)
‏(الاسم) الطراز البدائي, النموذج الأصلي‏

עברית (Hebrew)
n. - ‮אבטיפוס‬

If you are unable to view some languages clearly, click here.

To select your translation preferences click here.