Archetypal in the context of "History of psychology"

A stock character, also known as a character archetype, is a type of character in a narrative (e.g. a novel, play, television show, or film) whom audiences recognize across many narratives or as part of a storytelling tradition or convention. There is a wide range of stock characters, covering people of various ages, social classes and demeanors. They are archetypal characters distinguished by their simplification and flatness. As a result, they tend to be easy targets for parody and to be criticized as clichés. The presence of a particular array of stock characters is a key component of many genres, and they often help to identify a genre or subgenre. For example, a story with the stock characters of a knight-errant and a witch is probably a fairy tale or fantasy.

There are several purposes to using stock characters. Stock characters are a time- and effort-saving shortcut for story creators, as authors can populate their tale with existing well-known character types. Another benefit is that stock characters help to move the story along more efficiently, by allowing the audience to already understand the character and their motivations. Furthermore, stock characters can be used to build an audience's expectations and, in some cases, they can also enhance narrative elements like suspense, irony, or plot twists if those expectations end up subverted.

In Chinese philosophy, metal or gold (Chinese: 金; pinyin: jīn) is one of the five concepts that conform the wuxing. It is the return or the declining stage, and is associated with the west, dusk, autumn, loss, grief, and the White Tiger. In Traditional Chinese Medicine, Metal is the young yin symbol of Yinyang philosophy, its motion is going inwards and its energy is contracting. It is related to the Zung solid organ the lungs, and the fu or hollow organ the large intestine, the noses, and the skin. The archetypal metals are silver or gold denoting something special or valuable.

Count Dracula (/ˈdrækjʊlə, -jə-/) is the title character and main antagonist of Bram Stoker's gothic horror novel Dracula (1897). He is considered the prototypical and archetypal vampire in subsequent works of fiction. Aspects of the character are believed by some to have been inspired by the 15th-century Wallachian prince Vlad the Impaler, who was also known as Vlad Dracula, and by Sir Henry Irving and Jacques Damala, actors with aristocratic backgrounds that Stoker had met during his life. Count Dracula is one of the best-known fictional figures of the Victorian era.

One of Dracula's most famous powers is his ability to turn others into vampires by biting them and infecting them with the vampiric disease. Other characteristics have been added or altered in subsequent popular fictional works, including books, films, cartoons, and video games.

Anatomy of Criticism: Four Essays (Princeton University Press, 1957) is a book by Canadian literary critic and theorist Northrop Frye that attempts to formulate an overall view of the scope, theory, principles, and techniques of literary criticism derived exclusively from literature. Frye consciously omits all specific and practical criticism, instead offering classically inspired theories of modes, symbols, myths and genres, in what he termed "an interconnected group of suggestions." The literary approach proposed by Frye in Anatomy was highly influential in the decades before deconstructivist criticism and other expressions of postmodernism came to prominence in American academia in the 1980s.

Frye's four essays are sandwiched between a "Polemical Introduction" and a "Tentative Conclusion." The four essays are titled "Historical Criticism: Theory of Modes", "Ethical Criticism: Theory of Symbols", "Archetypal Criticism: A Theory of Myths", and "Rhetorical Criticism: Theory of Genres."