Thesis (M.A.)--Kutztown University of Pennsylvania, 2001. / Source: Masters Abstracts International, Volume: 45-06, page: 2822. Typescript. Abstract precedes thesis as preliminary leaf. Includes bibliographical references (leaves 121-126).

Archetypes, as defined by Carl Jung, are "a universal and recurring image, pattern, or motif representing a typical human experience." Thus they are thoughtful representations of human characteristics that essentially describe universal human motivations. In advertising, archetypes have been used to help define brands and present them to consumers in a meaningful way. This report proposes to validate the usage of archetypes as a tool to bolster the storytelling aspect of brands to the consumer. The suggestion here is that brands that are challenged in reaching today’s complex global consumer can evoke the desired brand meaning by incorporating values of the appropriate archetypes. The author also believes that understanding an individual’s archetypes can help uncover insights that relate to aspects of their values and attitudes for brands and, in that way, those archetypes can be a reasonable predictor of affective reactions to symbolic advertisement communication. / text

Master of Visual Arts / Abstract/Summary Dissertation Divination: Exemplifying and Configuring Archetypes in Ceramics is a study of my research practice. The cards of the tarot can be used as a conceptual framework and source of inspiration for making ceramic sculptures. The cards can be used to understand the creative process as an expression of archetypes. My dissertation discusses these archetypes from the tarot cards, both in their historical operation, their manifestation in my art practice, as well as, examining approaches taken to these archetypes by other artists such as Salvador Dali and Niki de Saint Phalle. The theoretical basis for the dissertation is informed by the writings of Carl G. Jung who has proposed concepts dealing with creativity, coincidence, a collective unconscious and archetypes. These ideas form a model for the understanding of my studio work. As background, the dissertation examines examples of artworks that could be seen to be drawn from a collective unconscious. Studio Work The studio work consists of a series of ceramic sculptures formulating the archetypes that I have derived from the tarot cards. The three dimensional clay, with found inclusions, examines the idea of specific archetypes. These archetypes are titled in the works including: The Fool, Strength, The Magician, Tarot Sun, The Empress II, The Lovers, Empress l, The Chariot I and II The Angel Temperance, The Tarot Devil and The World. The ceramic objects have been created in clay using handbuilding techniques. The clay was such that it could include found ceramic pieces and be refired. The pieces have been re-fired many times to achieve a variety of glaze effects. The works range in size from 30-60 cms approximately and include freestanding sculptures and complementing flat wall works.

Master of Visual Arts / Abstract/Summary Dissertation Divination: Exemplifying and Configuring Archetypes in Ceramics is a study of my research practice. The cards of the tarot can be used as a conceptual framework and source of inspiration for making ceramic sculptures. The cards can be used to understand the creative process as an expression of archetypes. My dissertation discusses these archetypes from the tarot cards, both in their historical operation, their manifestation in my art practice, as well as, examining approaches taken to these archetypes by other artists such as Salvador Dali and Niki de Saint Phalle. The theoretical basis for the dissertation is informed by the writings of Carl G. Jung who has proposed concepts dealing with creativity, coincidence, a collective unconscious and archetypes. These ideas form a model for the understanding of my studio work. As background, the dissertation examines examples of artworks that could be seen to be drawn from a collective unconscious. Studio Work The studio work consists of a series of ceramic sculptures formulating the archetypes that I have derived from the tarot cards. The three dimensional clay, with found inclusions, examines the idea of specific archetypes. These archetypes are titled in the works including: The Fool, Strength, The Magician, Tarot Sun, The Empress II, The Lovers, Empress l, The Chariot I and II The Angel Temperance, The Tarot Devil and The World. The ceramic objects have been created in clay using handbuilding techniques. The clay was such that it could include found ceramic pieces and be refired. The pieces have been re-fired many times to achieve a variety of glaze effects. The works range in size from 30-60 cms approximately and include freestanding sculptures and complementing flat wall works.

Thesis (M.A.)--Kutztown University of Pennsylvania, 1997. Thesis introduces "American Woman" archetype. / Source: Masters Abstracts International, Volume: 45-06, page: 2836. Typescript. Abstract precedes thesis as preliminary leaf [i]. Includes bibliographical references (leaves 90-95).

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This paper explores the appearance of three of Moliere's character types in Stendhal's novels The Red and the Black and The Charterhouse of Parma. Moliere had dealt in many types to which the titles of his plays provide a reasonably inclusive index--the Don Juan, the miser, the misanthrope, the hypochondriac. Those which have been singled out for comparison with Stendhal's characters in this work are the physician, the hypocrite, and the social climber, each of which is treated extensively by Stendhal, with the qualification that Moliere's physicians become Stendhal's priests. Chapter One identifies Julien Sorel of The Red and the Black and Fabrizio del Dongo of The Charterhouse of Parma with the physicians of Le Medecin Malgre Lui and Le Malade Imaginaire. Chapter Two identifies Julien with T artuffe. Chapter Three identifies him with Jourdain of Le Bourgeois Gentilhomme.

To help solve the climate crisis, municipalities are increasingly modifying their building codes and offering incentives to create greener buildings in their cities. But, city planners find it difficult to set and assess these policies, as most municipalities do not have the types of data used in urban building energy modelling (UBEM) that would allow their planners to forecast the impacts of various building policies. This thesis offers techniques for operating in this data-poor environment, presenting best practices for developing data-driven archetypes with machine learning, demonstrating inference of parameter values to improve archetypes by using surrogate modelling and genetic algorithms, and a demonstration of techniques for assessing residential retrofit impact in a data-limited environment, where data is neither detailed enough to create an in-depth single archetype study, nor broad enough to create an UBEM model. It will be shown that inference techniques have potential, but need a certain amount of detailed data to work, though far less than traditional UBEM techniques. For performing residential retrofit, it will be shown the lack of ideal detailed data does not present an overwhelming obstacle to drawing useful conclusions and that meaningful insight can be extracted despite the lack of precision. Overall, this thesis shows a data-poor environment, while challenging, is a viable environment for both research and policy modelling. / Graduate

This thesis examines Northrop Frye's critical theories in relation to Jungian psychology.

This interdisciplinary, archetypal study considers the numerous adaptation processes and techniques involved in the transposition of the fairy tale from one medium to another, exploring post-2000 adult adaptations and appropriations of ‘Little Red Riding Hood’ across a variety of high-art and popular media, such as advertising, video gaming, and fine art, with a focus on literature and film. As well as examining explicit re-tellings of the tale such as Catherine Hardwicke’s 'Red Riding Hood' (2011), more implicit and intertextual references are discussed, with the intention of acknowledging the pervasive, and at times, unconscious nature of the adaptation process. This can be seen in films like 'The Village' (2004), 'Hard Candy' (2005) and the television series 'Merlin' (2008 - ). As a means of analysing the material I adopt a feminist-Jungian theoretical model which enables the consideration of the mythological and ideological concepts inherent to the works. Specifically, this establishes how Red Riding Hood can be understood as a shifting archetype when compared to her fairy tale sisters such as Snow White, Cinderella, Sleeping Beauty et al, thus allowing for so many diverse portrayals of her character: as the child, the innocent victim, the femme-fatale, and the monstrous feminine. The rationale behind the thesis is threefold; firstly, ‘Little Red Riding Hood’ is typically understood as a cautionary tale, rather than a female quest narrative, therefore, I will explore how the tale is often used as a vehicle for post/feminist issues and/or gender anxieties, providing a commentary on the construction and perception of girls’ and women’s roles in contemporary Western society. Secondly, the work creates a space for the acknowledgement and discussion of unconscious appropriation which has so far remained on the margins of adaptation studies. And thirdly, to establish fairy tales, using ‘Little Red Riding Hood’ as an example, as the ultimate intertext(s), demonstrating how characters, themes and plots are continually (re)appropriated.