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Costa, Sueli. "From traditional archetypal to feminist archetypal criticism : William Faulkner's female characters in AS I Lay Dying and Light in August." reponame:Repositório Institucional da UFSC, 1995. https://repositorio.ufsc.br/xmlui/handle/123456789/157939.
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Análise das personagens femininas nos romances As I Lay Dying e Light in August de William Faulkner baseada na crítica tradicional dos arquétipos e revisada através da crítica feminista dos arquétipos. As personagens femininas apresentadas nos dois romances, quando analisadas sob uma perspectiva revisionista, passam de meros arquétipos estáticos nos romances a indivíduos ativos na sociedade e com os mesmos direitos e deveres atribuídos aos indivíduos do sexo masculino.
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Linn, Linda S. (Linda Salmon). "The Undergraduate Teaching of Archetypal Patterns in the Writings of Alice Walker." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279342/.
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Significant passages in Alice Walker's writings give evidence of archetypal patterns from Carl Jung and feminine archetypal patterns from Annis Pratt. Since a knowledge of archetypal patterns can influence the total understanding of aspects of Walker's writings, a study of these patterns in the undergraduate classroom benefits the student and opens up another system of analyzing writings, particularly writings by African-American women.
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Brackeen, Stephanie E. (Stephanie Ellen). "Edgar Allan Poe's Use of Archetypal Images in Selected Prose Works." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501065/.
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This study traces archetypal images in selected prose fiction by Edgar Allan Poe and shows his consistent use of such imagery throughout his career, and outlines the archetypal images that Poe uses repeatedly throughout his works: the death of the beautiful woman, death and resurrection, the hero's journey to the underworld, and the quest for forbidden knowledge. The study examines Poe's use of myth to establish and uphold archetypal patterns. Poe's goal when crafting his works was the creation of a single specified effect, and to create his effects, he used the materials at hand. Some of these materials came from his own subconscious; however, a greater portion came from a lifetime of study and his own understanding of the connections between myth and archetypal images.
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Spratley, Warren. "The Promise: A Mythic-Archetypal and Gender-Oriented Analysis of J.D. Salinger's "A Perfect Day for Bananafish"." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3241.
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This thesis is an analysis of J.D. Salinger’s “A Perfect Day for Bananafish” from both mythic-archetypal and gender-oriented perspectives. It looks specifically at the way a gender-oriented reading allows one to interpret “Bananafish” as a radical reassessment of Carl Jung’s ideas about the process of individuation, as well as Joseph Campbell’s conception of what he describes as the monomyth in his The Hero with a Thousand Faces. The reader is asked to look at how patriarchal values have greatly limited the development of these characters’ identities over time, and the complex archetypal and mythic implications of this limitation.
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Granström, Arvid. "In a hole in the English classroom, there lived a hobbit : Archetypal criticism and ways to use The Hobbit for EFL learning." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-89894.
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This essay focuses on Bilbo Baggins’ journey towards becoming a hero in J.R.R. Tolkien’s The Hobbit. In order to analyse Bilbo’s development as a character, Joseph Campbell’s theory of the hero’s quest is applied to his journey. Since Bilbo does not possess the traits of a traditional hero character, the model is not expected to fit Bilbo’s journey. However, the model does actually fit his journey, in contradiction to the expected. This essay also argues for the use of The Hobbit in the EFL classroom since the novel’s variety of themes and large fandom can work as an incentive for students to analyse fantasy in order to get familiar with older literature and use the fantasy worlds as a metaphor for our own world. Since the main focus of this essay is on archetypes the critical lens is archetypal criticism.
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Åberg, Joakim. "The process of Individuation in Willy Loman : A Jungian Archetypal Literary Analysis of the Protagonist in Arthur Miller’s Play Death of a Salesman Compared to the Classical Hero of Odysseus in Homer’s The Odyssey." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-31001.
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This study is an archetypal literary analysis of Arthur Miller’s play Death of a Salesman and Homer’s The Odyssey. The analysis aims to demonstrate how Arthur Miller’s protagonist, Willy Loman, in Death of a Salesman demonstrates several stages of Carl Gustav Jung’s theory of the individuation process, similar to Odysseus in Homer’s The Odyssey. This is done by identifying set archetypes and stages of Jung’s individuation process, the persona, the shadow, the anima, and the self. After that, the stages are applied to both Miller’s play and Homer’s epic poem. The analysis shows that both protagonists demonstrate and complete Jung’s individuation process. Willy Loman completes a symbolic journey, whereas Odysseus completes a physical one.
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Hallenbeck, Kathy H. "Completing the Circle: A Study of the Archetypal Male and Female in Nathaniel Hawthorne's The Scarlet Letter." [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0327102-160947/unrestricted/hallenbeckK042302A.PDF.
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Larsen, Brian. "An interaction of theology and literature by means of archetypal criticism, with reference to the characters Jesus, Pilate, Thomas, the Jews, and Peter in the Gospel of John." Thesis, University of St Andrews, 2001. http://hdl.handle.net/10023/13419.
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This thesis explores the interaction of literature and theology by means of archetypal criticism with specific reference to certain characters in the Gospel of John. Northrop Frye's system of archetypal literary criticism consisting of the four mythoi or archetypes of romance, tragedy, irony and satire, and comedy forms the governing framework and means of exchange between literature and theology. This synchronic interaction is centered on Jesus, an innocent man acting on behalf of others, as romance; Pilate, unable or unwilling to act justly in an unwanted and unavoidable particular circumstance, as tragedy; Thomas and the Jews, variations on the theme of seeing and not seeing as irony; and Peter, who denies Christ and later recovers, as comedy. These characters' function as points of exchange, each reaching their defining literary and theological climax during the crucifixion events. Within the FG's narrative these characters also serve as imaginative points of contact and identification for the reader at which the reader's own faith response may be placed within the literary and theological milieu of the Fourth Gospel. Conceptually, Jesus and romance, Pilate and tragedy, Thomas, the Jews, and irony, and Peter and comedy may be characterized by representation, reduction, negation, and integration, respectively. The variable between these four mythoi and between these characters is the relationship between a belief or an ideal and experience or reality assumed by the work as a whole and/or assumed and displayed by each character.
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Tiezzi, Ricardo. "Anatomia do anticristo: narrativa arquetípica no filme de Lars von Trier." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/1904.
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This work is an analysis of the film Antichrist, by Lars von Trier, from the archetypal criticism proposed by Northrop Frye. The hypothesis is that the film uses narrative patterns whose matrix is biblical to organize his narrative. The first chapter deals with the film and the work of the director. In the second chap-ter, the first step is to define what archetype means in literature, with authors who have worked with the concept. Then our main theory is presented in the work of the Canadian critic Northrop Frye. The third chapter, finally, is an analysis of the film from three different approaches: gender, in which we discuss the tragedy in Anti-christ; mode, in which the narrative of the film is perceived in the tension between the realistic and mythic narratives; and images, in which patterns of imagery stand out from the film in relation to vertical poetic, to the woman and the erotic relation-ship and to the nature and the garden
Este trabalho é uma análise do filme Anticristo, de Lars von Trier, a partir da crítica arquetípica proposta por Northrop Frye. A hipótese é a de que o filme recorre a pa-drões narrativos cuja matriz é bíblica para organizar sua narrativa. O primeiro capítulo aborda o filme e a obra do diretor. No segundo capítulo, a primei-ra etapa consiste em definir o que arquétipo significa em literatura, apresentando os autores que trabalharam com o conceito. Em seguida, é apresentada nossa teoria principal na obra do crítico canadense Northrop Frye. O terceiro capítulo, por fim, é uma leitura do filme a partir de três eixos: gênero, no qual se discute a tragédia no Anticristo; modo, no qual a narrativa do filme é percebida em sua tensão entre as nar-rativas realista e mítica; e imagens, no qual se destacam padrões imagéticos do filme em relação à poética vertical, à mulher e a relação erótica e à natureza e o jardim
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Kalpakidis, Charalabos. "Metaphors, Myths, and Archetypes: Equal Paradigmatic Functions in Human Cognition?" Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3284/.
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The overview of contributions to metaphor theory in Chapters 1 and 2, examined in reference to recent scholarship, suggests that the current theory of metaphor derives from long-standing traditions that regard metaphor as a crucial process of cognition. This overview calls to attention the necessity of a closer inspection of previous theories of metaphor. Chapter 3 takes initial steps in synthesizing views of domains of inquiry into cognitive processes of the human mind. It draws from cognitive models developed in linguistics and anthropology, taking into account hypotheses put forth by psychologists like Jung. It sets the stage for an analysis that intends to further understanding of how the East-West dichotomy guides, influences, and expresses cognitive processes. Although linguist George Lakoff denies the existence of a connection between metaphors, myths, and archetypes, Chapter 3 illustrates the possibility of a relationship among these phenomena. By synthesizing theoretical approaches, Chapter 3 initiates the development of a model suitable for the analysis of the East-West dichotomy as exercised in Chapter 4. As purely emergent from bodily experience, however, neither the concept of the East nor the concept of the West can be understood completely. There exist cultural experiences that may, depending on historical and social context, override bodily experience inclined to favor the East over the West because of the respective connotations of place of birth of the sun and place of death of the sun. This kind of overriding cultural meaning is based on the “typical, frequently recurring and widely shared interpretations of some object, abstract entity, or event evoked in people as a result of similar experiences. To call these meanings ‘cultural meanings' is to imply that a different interpretation is evoked in people with different characteristic experiences. As such, various interpretations of the East-West image-schema exist simultaneously in mutually exclusive or competing forms, as the analysis of Gatsby and the reversal of the values of East and West in the context of colonizing and counter-colonizing attitudes suggests.
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Stypczynski, Brent. "Evolution of the Werewolf Archetype from Ovid to J.K. Rowling." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1222706628.
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陳宇. "花木蘭原型的叙事演變及其文化批評 = Culture criticism and narratice evolutionof Hua Mulan's archetype." Thesis, University of Macau, 2005. http://umaclib3.umac.mo/record=b1636167.
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Dementavičiūtė, Deimantė. "Archetipiniai įvaizdžiai A. Strindbergo sąlygiškosiose dramose ir jų pastatymuose Lietuvos teatre." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110615_141948-34670.
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Augustas Strindbergas (1849-1912) – švedų dramaturgas, moderniojo teatro pradininkas, pirmasis literatūroje panaudojęs siurrealistinę stilistiką. Dramaturgo domėjimasis sapnais, pasąmone, mitologija, religija, ezoterika atsispindėjo vėlyvajame kūrybos laikotarpyje parašytose sąlygiškosiose pjesėse – „Kelias į Damaską” (1898-1904), „Sapnas” (1902) ir „Šmėklų sonata“ (1907). A. Strindbergas šioje trilogijoje atvėrė kolektyvinėje pasąmonėje slypinčius herojaus ir motinos archetipus. Herojaus archetipas išreiškia žmogaus dvasios įkalinimą materialiojoje realybėje – Žemės Motinos karalystėje.
Darbe siekiama pažvelgti į tai, kaip šie archetipiniai įvaizdžiai yra atskleidžiami rašytojo sąlygiškosiose pjesėse ir pagal jas pastatytuose lietuvių režisierių darbuose. Darbe analizuojami šie spektakliai: G. Padegimo „Kelyje į Damaską” (1986, KVDT), „Šmėklų sonata” (1998, KVDT), S. Varno „Sapnas” (1994, PDT), J. Vaitkaus „Sapnas” (1995, LVADT) ir O. Koršunovo „Kelias į Damaską” (2007, KDT).
Atlikus dramų analizę, nustatyta, jog A. Strindbergo pjesėse tamsiosios Žemės Motinos archetipas perteikiamas per gyvenimo-sapno metaforą, kuomet materialioji realybė vaizduojama kaip iliuzinis, netikras, sapniškas pasaulis, sudarytas iš prieštaringų gėrio ir blogio polių. Herojaus archetipinį įvaizdį dramose įkūnija pagrindiniai veikėjai, o antraeiliai personažai dramaturgo vaizduojami kaip tam tikri skirtingi pagrindinių veikėjų vidiniai aspektai.
Ištyrinėjus spektaklius, prieita prie išvados, jog G... [toliau žr. visą tekstą]August Strindberg (1849-1912) – Swedish playwright, the first who used surrealist stylistics in literature, the father of modern theatre. He was studying dreams, unconscious, mythology, religion, occultism, gnosticism – he used these knowledge in conventional dramas, written in his late period of his creation: To Damascus (1898-1904), A Dream Play (1902) and The Ghost Sonata (1907). In this trilogy A. Strindberg opened archetypes of collective unconscious – the mother and the hero. The archetype of hero means imprisonment of human soul in the material reality – the kingdom of Terrible Mother. This work is dedicated to look how these These archetypal images are represented by writer and in the performances of Lithuanian directors: To Damascus (1986, KVDT) and The Ghost Sonata (1998, KVDT) of G. Padegimas, A Dream Play (1994, PDT) of S. Varnas and To Damascus (2007, KDT) of O. Koršunovas. The results of analysis of plays showed that the archetype of Terrible Mother in A. Strindberg‘s plays is conveyed through life-dream metaphor, when the material reality portrayed as a illusory dream world, consists of the contradictory poles of good and evil. The main actors in dramas embody an archetypal image of the hero, and secondary characters are portrayed as a number of different aspects of the hero’s inner world. Explored performances led to the conclusion, that G. Padegimas and O. Koršunovas use the spiritual journey archetype, S. Varnas and J. Vaitkus – the Terrible Mother... [to full text]
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Botha, Jacqueline. "The myth is with us : Star Wars, Jung's archetypes, and the journey of the mythic hero." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019/506.
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Riedel, Melinda. "The Relegation of Female Characters in Harry Potter and the Goblet of Fire." Thesis, Stockholms universitet, Engelska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182404.
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This essay examines how J.K Rowling´s tendency to draw on intertextuality creates a relegation of female characters in Harry Potter and the Goblet of Fire (2014). By examining the link between intertextuality and the creation and portrayal of certain female characters in the most selling book series in history, Harry Potter, it is clarified how the use of intertextuality relegates female characters to retrogressive social constructs of gender. The three characters studied in this essay are Fleur Delacour, Molly Weasley and Petunia Dursley. The approach used is mythological criticism, an approach focused on the search for universality in a multitude of modern and historical texts. The main concepts used in this essay are the archetypal woman, postmodernity, gender performativity, myth, and intertextuality. Judith Butler´s concept of gender performativity is combined with Graham Allen’s definitions of intertextuality and postmodernity to understand how and why female characters in Harry Potter are relegated. Evidence has been collected from published journals, books, and encyclopedias. This essay explains how relegation is caused by shining light upon the link between character creation and the myths that the character builds upon. J.K Rowling has used archetypical female roles, such as the siren, the wicked stepmother or the mother, when creating her characters, thus relegating them to past beliefs of femininity, such as the woman as being exotic and dangerous. By examining both myth and postmodern texts such as Harry Potter one can gain a deeper understanding on how intertextuality can cause a postmodernist text to reflect past notions of femininity that would be viewed as retrogressive in a postmodern and postcolonial society.
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Baffoni, Valentina. "The quest for agency - how Margaret Atwood and Madeline Miller make modern heroines out of the Odyssey’s Penelope and Circe." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2021.
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The word odyssey has become part of the common English vocabulary as “a series of experiences that teach you something about yourself or about your life.” The aim of this thesis is to demonstrate that the women of the Odyssey, in particular the two who are featured the most, Penelope and Circe, have benefitted from contemporary revisions by authors Margaret Atwood and Madeline Miller. Their works add to a tradition of literary retellings by women writers from the Romantic and Modernist period. These creators approached myth, an inhospitable terrain for women, and embarked on an odyssey of their own, a journey of self-actualization and self-realization through the re-writing of epic female figures. Atwood and Miller expand the stories of Penelope and Circe, exposing the misogynistic narratives of the original epic in which they were reduced to archetypes. By further exploring and developing their stories, they demonstrate that characters don’t have to be either wholly good or wholly evil but that there can be a balance in their attributes. These even-handed portrayals of beloved mythological figures can teach modern readers something new about themselves, their lives and the role of women in narrative fiction and contemporary society.
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Abdalla, Fardosa. "Resistance of Female Stereotypes in The Bluest Eye : Destroying Images of Black Womanhood and Motherhood." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-24581.
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Stereotypes and myths are created by media to simplify and mystify reality. The two are used to form negative stereotypical images that are used as tools of social oppression in today’s white patriarchy. This essay will focus on how Toni Morrison’s The Bluest Eye depicts black womanhood and motherhood and resists the reductive images of black women through the narrative technique. In the text we find the stereotypical images of the Mammy and the Matriarch in the character Pauline "Polly" Breedlove, both simplifying and mystifying black motherhood but also condescending towards African-American family constellations. The text resists these images by making readers inhabit Polly who at first fits in to the two archetypes, only to then give us additional information and use an engaging narrative technique that invites the reader to decide if Polly really is the Mammy and the Matriarch.
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Robinson, Scott E. (Scott Elmon) 1961. "Dichotomy in American Western Mythology." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500528/.
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The fundamental dichotomy between savage and civilized man is examined within the archetypal Western myth of American culture. The roots of the dichotomy are explored through images produced between 1888 and 1909 by artists Frederic Remington and Charles Russell. Four John Ford films are then used as a basis for the "dichotomous archetype" approach to understanding Western myth in film. Next, twenty-nine "historical" and "contemporary" Western movies are discussed chronologically, from The Virginian (1929) to Dances with Wolves (1990), in terms of the savage/civilized schema as it is personified by the roles of archetypal characters. The conclusion proposes a potential resolution of the savage/civilized conflict through an ecumenical mythology that recognizes a universal reverence for nature.
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Callahan, Sarah Francis. "A Wonder Whose Origin is not Known: The Importance of the Orphan Hero in Otherworldly Film." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3694/.
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The purpose of this thesis is to explore the importance of the orphan hero in film and his resonance with the American people. It explores the orphan and the American identities, the archetypes found in myths, and the hero in American culture. The three heroes (Batman, Anakin Skywalker, and Harry Potter) represent certain aspects of orphan heroes: the capacity for sacrifice and the need to resist focusing on oneself. The type of hero each becomes has its source in the response he takes to his orphanhood. These young men suffered great loss early in their lives, but found the strength to sacrifice themselves for others, the ultimate sign of a hero.
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MURPHY, ANN BRIAN. "PERSEPHONE IN THE UNDERWORLD: THE MOTHERLESS HERO IN NOVELS BY BURNEY, RADCLIFFE, AUSTEN, BRONTE, ELIOT, AND WOOLF (FEMINIST CRITICISM, PSYCHOANALYTICAL CRITICISM, ARCHETYPAL CRITICISM)." 1986. https://scholarworks.umass.edu/dissertations/AAI8701205.
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The female heroes in late eighteenth-century and in nineteenth-century English novels by women are strikingly motherless, lacking both a constructive model of adult female subjectivity and sexuality, and a matrilineal emotional and linguistic legacy with which to define themselves in a hostile patriarchal culture. Like Persephone in the Underworld, these heroes are captives in the wor(l)d of the father, experiencing heterosexuality as both seductive and coercive, desiring an impossible return to maternal oneness. Two narrative patterns emerge as female authors--themselves artistically motherless--trace the (socially impermissible) maturation of their heroes. In one, the representational tradition exemplified by the works of Fanny Burney, Jane Austen, and early George Eliot, female heroes initially resist patriarchal definition--cultural and psychological inscription expressed primarily in linguistic metaphors. Yet they are equally terrified by the subversive, semiotic, marginal, and declassee jouissance of maternal surrogates. Eventually, these heroes succumb to the Word of the Father and its model of feminine renunciation and silence, rather than risk the dangers of maternal reconciliation (rematriation), depicted as dirty, classless, promiscuous, and violent. By contrast, a surreal, Gothic, and fantasy narrative pattern, exemplified by the novels of Ann Radcliffe, Charlotte Bronte, later George Eliot, and Virginia Woolf, permits that dangerous, semiotic, maternal energy to disrupt and redefine the world of the novel. The patriarchal domination which threatens these heroes is heterosexual as well as linguistic, while the symbolic representatives of maternal origins they confront--often in the guise of irrational, life-saving forces--empower and renew them. Employing non-representational gestures--a species of l'ecriture feminine--to suggest such rematriation, these novels suggest a tentative, uneasy, and covert return to lost/repressed pre-Oedipal material. Employing elements of archetypal criticism, feminist psychoanalytical theory, and French feminism to examine these novels, we find a remarkable consistency of motifs: enforced silence and desire for voice/education; fear of invisibility and yearning for transcendence; profound dis-ease with (masculine) models of autonomous identity; fearless assertion on behalf of others; implicit homoerotic solace in female friendship; and a deep fear of maternal eroticism coupled with an intense desire for rematriation.
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Chen, Hsiu-Lin, and 陳秀玲. "The Mythical Thinking in Chang Ying-Tai’s Novels: based on Archetypal Criticism Theory." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/v48ppz.
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碩士國立清華大學
台灣文學研究所
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This thesis focuses on Chang-Ying-Tai’s works from the early 1990s to the present. Chang’s novels were known and admired with fantastic “exotic features” and “love adventures” , especially the myth, romance, marvels and magic elements used in her writings. Those aesthetics definitely helped Chang to win a lot of prizes in a variety of writing competitions held by newspapers. Aside from listed renowned features, I also find a kind of mythical thinking in Chang’s series of novels. I suggest the mythical thinking departures from her second book “Tibet Lover” and takes place continually in her following works. And the observation come out an idea to have a further study on her novels based on the Archetypal Criticism Theory. First of all, I proceed to analyze Chang’s two short stories and one prose which won top prizes in the writing competitions held in 1999 and 2000. I go through all the opinions given by adjusters to consolidate the comments to review how could her stories gain the majority of criticizers’ appreciative evaluations and why could her writings get great appraisal of literature. Secondly, I define the “Unconfined Spring Light ”as a modern myth of love and put the book under Northrop Frye’s archetypal criticism theory, as well as Joseph Campbell’s hero’s adventure theory to review Chang’s “departure- pursuit-return” itinerary happened repeatedly in her stories. Hereinafter, I put “The Bear Is Whispering To Me” under Claude Levi-Strauss's theory to discuss how conflicts and misunderstandings resulted in a broken relationship between human beings and nature, as well as how the boy could re-approach the Spirits thorough mysterious rituals and worships. Finally, I analyze the topics of rebirth, reincarnation and transformation in the “An Ancient Musician” based on Jung’s Archetype Theory. Completed as the first academic essay on Chang’s novels, I attempt to analyze from an interdisciplinary perspective among mythology, anthropology and psychology. I assume the mythical thinking is the core aesthetics throughout her stories and discuss based on Archetypal Criticism Theory to explore Chang’s spiritual world, as well the interior of primitive soul.
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Huang, Yen-Hsuan, and 黃彥瑄. "A Study of Wang Wen-hsing \" Fifteen Short Stories \" : based on Archetypal Criticism Theory." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/y2mxn2.
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Rubenstein, Avril. "Bearers of dreams : a study of archetypal symbolism in fantasy and science fiction." Thesis, 1998. http://hdl.handle.net/2263/29722.
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Daňková, Andrea. "Genderová analýza vývoje ženských hrdinek v animované tvorbě Walta Disneyho." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-405760.
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The thesis addresses analysis of stories and narrative in relation to the subject of gender. This analysis primarily deals with fairy tale The Beauty and the Beast by Disney. The first part is about general theoretical basis for my thesis and about the most important authors in this field. Archetypes and logocentrism topics are dealt with partially as well. The foundations of the first part are however literary and motion-picture feministic theories, also the concept of the myth of beauty. In the practical part sequences of the The Beast and the Beauty are studied. Findings described in theoretical part is utilized here and the marked and subtle influence of androcentric culture on style and content of the story is shown.
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Astapencov, Neli. "Proměny genderových archetypů ve filmu Hořký měsíc." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-326358.
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The thesis deals with gender analysis in films studying metamorphoses of archetypes in film Bitter Moon directed by Roman Polanski. The methodical and theoretical sections of the thesis analyse the influence of archetype changes of film characters in gender roles. The thesis identifies and analyses mainly woman film characters appearing in some classical feminist texts, feminist film theoretical and critical articles, in some psychoanalytical works, in dramatheraphy and film science. The sources mentioned above became primary resource materials for our archetypal research. The analysis of each of the film character is focused on the most distinctive archetype with respect to its metamorphosy. Apart from the archetype research the thesis is marginaly concerned with problems linked to the female ideal and her sexuality usually portrayed in an unalterable way, and archetypal patterns are in such a way transmitted to audiences through femininity and masculinity in the context of gender roles. Keywords: archetype, Roman Polanski, Laura Mulvey, Annis Pratt, cinematic archetypal coherence, feminist film criticism, film narrative analysis, archetypal masculinity, archetypal femininity.
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Meihuizen, Nicholas Clive Titherley. "Yeats and individuation : an exploration of archetypes in the work of W.B. Yeats." Thesis, 1992. http://hdl.handle.net/10413/11300.
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Wentzel, Gareth Peter. "The archetypes of "bogeyman" and "final girl" within the slasher horror sub-genre: an enquiry into socio-cultural values." Thesis, 2017. https://hdl.handle.net/10539/23887.
Full textAbstract:
Submitted in partial fulfillment of the requirements for the degree
Master in Arts
In the Department of Film and Television
Faculty of Humanities
University of the Witwatersrand
March 2017Drawing on Carol Clover’s theory of the male antagonist or "Bogeyman" and the female protagonist or "Final Girl" that define the American Slasher Horror sub-genre, I analyzed two original Slasher films, namely Halloween (Carpenter 1978) and A Nightmare on Elm Street (Craven 1984). I later outlined the evolution of these conventions within the Slasher sub-genre, using the remakes of both films respectively. I then endeavoured to explain the subversion of these conventions in France with the New French Extremity Movement, and analyse how these filmmakers successfully transposed a typical American subgenre to France. Finally, using New French Extremity, I attempted to subvert and transpose these conventions to South Africa by writing, producing and directing a short Slasher film titled The Teddy Bear Man.
MT2018
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Rutstein, Esther. "Jewish folksongs in the Palestinian period : building a nation." Diss., 1997. http://hdl.handle.net/10500/17649.
Full textAbstract:
The psyche of an entire people underwent a paradigm shift during the Palestinian
Period (1920-1948). Jews took a spiritual quantum leap; they left the despair of the
'wastelands' of the Diaspora and journeyed towards the Promised Land. The quest
of these pioneers was to rebuild their ancestral homeland. When the pioneering
Halutzim encountered the ancestral soil of their Motherland, deep impulses were
revealed. Their folksongs - an important component of folklore and mythology -
reflected this inner dimension of their being and of their experiences in Eretz Israel
by means of archetypal transformations. Initially, an idealistic devotion to
reconstruction and intimate reverence for the Land was reflected. However, in the
1930s and 1940s, opposition to Jewish settlement transformed folksongs so they
became increasingly militant, reflecting a movement towards extroversion in the
Jewish psyche which was consolidated in 1948.Music
Thesis (M.A.)--University of South Africa, 1997.
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Barrett, Mary Sarah. "Confrontations with the Anima in The Dispossessed, The Left Hand of Darkness, and Tehanu by Ursula K. Le Guin." Diss., 2005. http://hdl.handle.net/10500/1651.
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This dissertation analyses the protagonists in The Dispossessed, The Left Hand of Darkness, and Tehanu by Ursula K. Le Guin, and looks at the extent to which they confront the Jungian archetype of the anima. I demonstrate that individuation and wisdom are not achieved in these characters until they confront the anima archetype within their individual psyches. I analyse the experiences and behaviour of each protagonist in order to identify anima confrontation (or lack thereof), and I seek to prove that such confrontation precipitates maturity and wisdom, which are goals of the hero's journey. The essential qualities of the anima archetype are wisdom, beauty and love. These qualities require acceptance of vulnerability. I argue that the protagonist is far from anima integration when he displays hatred and fear of vulnerability, and conclude that each protagonist is integrated with the anima when wisdom, beauty and love are evident in his character.English Studies
M.A. (English)