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The two basic conflicting forces throughout Wharton’s tragic novels have a great affinity with the cult of the Apollonian and Dionysian in ancient Greek religion and in Nietzsche’s The Birth of Tragedy. On the one hand, it is the Apollonian ideal of civilized society and individual restraint, which is a beautiful illusion maintained in a bright appearance. When it encounters Dionysus, it is its defensive social rules, the social restrictions, and oppression it imposes on individuals; on the other hand, it is the awakening of Dionysian primitive passion, which tears off the social and individual protective veil of Apollo and reaches the Dionysian tragic cognition at the root of existence, requiring breaking social barriers and indulging the vitality of primitive nature. In this paper, the cult of the Apollonian and Dionysian in ancient Greek religion and as defined by Nietzsche in his The Birth of Tragedy is used to analyze the inner conflicts in the protagonists of Wharton’s tragic novels and the patterns of tragedy in each of her studied novels. Through such archetypal criticism of religious cults in Wharton’s major works, this paper attempts to refute most of the negative criticism of her novels.

The parable of the Prodigal Son in Luke 15 elicits profound responses and emotions in various times, places, and cultures. Why has it stood the test of time as one of Jesus’ most famous parables? One possible answer is that the story carries enduring appeal because of the underlying structure of the parable, a recurring pattern in literature called the monomyth. Peeling back the layers of the parable, one may uncover the foundational archetypes of the parable that make it timeless. Hidden significance of the parable may be illuminated by comparing its narrative to the hero quest of Joseph Campbell and the monomyth archetypes of Northrop Frye and Leland Ryken, both of which emphasize a cyclical movement that unifies all of literature. Also important are the specific archetypes within the general monomyth archetype, such as father and mother, bread and water. The parable also contains the four elements (mythoi) of the circular monomyth: romance, tragedy, anti-romance, and comedy. Using archetypal and myth criticism, this article demonstrates that the parable has enduring attraction because its underlying archetypes appeal to a deep layer of the human psyche and to what is elemental to the human experience.

Moby Dick, one of Herman Melville’s masterpieces, has received tremendous concern for its profound and multiple symbolic and metaphoric meanings. And the pervasive biblical terms and allusions deserve particular attention. This paper, based on Frye's archetypal theory, studies Moby Dick from the perspective of biblical archetypal criticism. The association between the characters and their biblical archetypes helps to reproduce the ancient matrix of The Bible, such as the crime of human beings, themes of sin, the fall, and redemption. The exploration of the biblical archetypal theme in Moby Dick provides us a new perspective to understand the profound significance of the novel. Melville reveals the opposition between good and evil in human beings and shows his contradictory religious outlook as well as his spiritual reflections of his time.

The study analysed samples of folk narratives, specifically three Batangas religious legends, from the lens of Archetypal criticism. In a collective sense, analysing the archetypes of religious legends revealed Batangueños’ spirituality, religiosity, and traits as a people. The theme of faith as an archetypal subject relates to the Batangueños’ deep trust in God amidst difficult circumstances. The caregiver female character archetype recurs in the legends, while the ruler, everyman, rebel, and sage are the male archetypes revealed by the study. The characters’ negative traits as embodied in the shadow archetypes reflect that, true to their nature as human beings, Batangueños have human flaws. The water that represents the archetypal image symbolises the Batangueños’ life cycle of birth-death-resurrection, purification and redemption, fertility, and growth. As gleaned from the two legends, the situation archetype may be related to the Batangueños’ ownership of patron saints as part of their religiosity. Since the study focused on the non-etiological classification of legends, future researchers may study other legends that may reflect the peculiar culture of their localities

Earth is one of the outstanding natural objects in the Qur'an with a variety of roles. Studying the religious history of this cosmic object, researchers have found that it is of high sexual importance among several Semitic tribes and the ancient beliefs of the different regions including the Mesopotamian. Almost in all of these regions, the earth is manifested as a female being, and its gender is female. The present study intends to examine the earth in this historical- religious context and reveal its feminine manifestations in the Quran. Finally, it discusses the earth's archetypal aspects, based on the Jungian concepts. The main questions are as following: What role does the earth play in the mythical beliefs of the Semitic tribes, and what are its main functions? What is the history of the earth's feminine roles in Semitic cultural beliefs? Can such feminine roles be traced in the Quran? If so, what are the most important manifestations of this femininity in the Quran?; and What is the message of the Qur'an in this regard? An examination of the Qur'anic verses reveals that the Quran has taken the archetypal advantages of the earth, with its positive approach to the Anima archetype, and has found the various manifestations of the earth's femininity by notions (ideas) such as \"the similarity of the woman and the tilth\" (Q 2: 232). According to the results, this archetype mainly makes humans' conscious minds to know the place of Allah in the world and distinguish His power and high position from those of the earth. In other words, such verses seek to reject the beliefs of those pagans who worshiped the earth or thought that the earth is superior to Allah. The Quranic hint at mythological beliefs on the similarity of “the woman and the field” (farm), on the one hand, is to emphasize the sanctity of marriage, introduce it as a religious ritual and then pay attention to its spiritual purpose, and on the other hand, is to advise better communication with women, that is, a proper, pleasant and harmless sexual relationship.

The current study examines archetypal patterns and themes underlying contemporary Native American initiation fiction. Moccasins Don’t Have High Heels and The Red Wars, both written by Le Anne Howe, are informed by the conventions of initiation fiction. The portrayal of characters with uncertain identities and feelings of alienation and solitude is a recurring theme in both works which are approached from the viewpoint of archetypal criticism. The research claims, questions and aims are stated in the introduction, which also offers an overview of Native American literature, initiation fiction, and archetypal criticism. An archetypal reading of Howe’s stories is presented in the Discussion. Research findings and analysis outcomes are stated in the Conclusion.

The Book of Tobit is replete with various instances of ‘othering’ that hold the potential for alienation and a variety of strong emotions. For example, Tobit ‘others’ Anna by insisting that she had stolen a goat, whereas she had not. Following a Jungian paradigm, this paper reads the various ‘otherings’ inherent in the interrelationships between the characters as reflections of the main character’s relationship with himself. In so doing, it analyses these relationships through Jung’s concepts of Eros/Logos and anima/animus to determine the nature of Tobit’s ‘self-othering’ and its effect on those around him. It is concluded, among others, that Tobit’s multiple ‘self-otherings’ and his ‘othering’ of ‘other’ characters are because of his suppression of his anima-Eros function that has, in turn, given rise to a dominant (and demonic) animus-Logos.

The essay analyzes the ambivalent response of some major Anglo-American artists and writers to the Roman cultural context, focusing, in particular, on their reaction to classical and neoclassical sculpture. In the 18th and 19th centuries, Rome was often interpreted as “the city of statues,” an image that was shared by visual artists (B. West, W. Allston, H. Greenough, T. Crawford, W. W. Story, H. G. Hosmer) and novelists like Melville, Hawthorne, and James. The function of the archaeological background and the fruitful permanence of dense images from the past are investigated in some of their texts, in terms of an updated archetypal criticism.

Psalm 139 provides both great opportunities and huge challenges for the preacher. It is a Psalm crafted in four parts: part two is an imaginative and poetic affirmation of God’s omnipresence that engages the Jungian perceiving process; part four is a fierce and uncompromising diatribe against God’s enemies that engages the Jungian judging process. Interpretations of these two sections of the Psalm are explored among a sample of 30 Anglican deacons and priests serving as curates who were invited to work in small hermeneutical communities, structured according to psychological type theory and designed to test the sensing, intuition, feeling and thinking (SIFT) approach to biblical hermeneutics and liturgical preaching. The findings from the hermeneutical communities demonstrated that the poetic power of part two was perceived quite differently by sensing types and by intuitive types. The judgement against God’s enemies in part four was evaluated quite differently by feeling types and by thinking types. The implications of these different readings of sacred text are discussed in relation both to hermeneutical theory and to homiletic practice.