The F Ool Archetype Presented by Suzie Wolfer LCSW [email protected] Ó Ò 503-762-7612

Total Page:16

File Type:pdf, Size:1020Kb

The F Ool Archetype Presented by Suzie Wolfer LCSW Suzie@Suziewolfer.Com Ó Ò 503-762-7612 The F ool Archetype Presented by Suzie Wolfer LCSW [email protected] www.suziewolfer.com 503-762-7612 _______________________________________ What is an Archetype? Carl Jung believed that our minds come coded with patterns, like magnets that lead us to perceive the world in a particular way. He called these predispositions archetypes. They have some interesting characteristics in the case of the Fool Archetype: They contain all aspects of “foolishness” that are possible. For example in the Fool archetype you find the Sacred Clown, the Comedian, the Mystic Fool, and the Healer Clown like the character Patch Adams. They are present at birth and have the power to command our attention. It leads us to events, people, and opportunities. We have a built in mechanism to notice the things in its domain The Archetype takes life force and gives it a direction, provides focus. Like a moth drawn to the light, the archetype is a light that draws us to develop and grow through the use of the power it gives us. It helps us energize in challenges, that without the archetype we might give up. The Fool persists on the journey, when others might turn back and head for the familiar, or give up on a relationship instead of continuing to love. Archetypes are like invisible magnets. Their fields are invisible until we place metal filings around them and can see the force field they exert. Our life experiences are like the metal filings, showing us where our strengths lay. They are also like the DNA of the personality, holding potential, and directing life paths with the field of influence We gradually learn who we are through the challenges and accomplishments gifted us through the archetypes They also require faith at times, when confusion and chaos strike. They help us know what to do when the manual is missing. They require us to hold the tension between conflict and resolution where our creativity is invoked and helps us find out way on the Dancing Fool by Suzie Wolfer Hero’s Journey. These struggles have personal meaning when the archetype has chosen us, so that the resolution of these challenges makes us alive authentic human beings. The challenge carries the seeds of our true self and call us to the task, transcending our fears. The archetype energizes us so we can overcome our fears. They move us from the world of the known, secure predictable world, to the world of the possible. The Fool Archetype by SuzIe Wolfer LCSW www.suziewolfer.com . page 1 What is the F ool Archetype? Whenever we think we’re in charge of things, the Fool may enter center stage to remind us to be mindful, humble and amused. The Fool reminds us to Lighten Up! Not take our selves so seriously. But more importantly, the Fool leads us to opportunities we would never consider when everything is going our way. This powerful and universal archetype has been known as the Jester, Coyote and the Interrupter. And his or her gift is always a wake up call. The word Fool comes from the Latin word follis, which means a pair of bellows, which provide the oxygen needed for a combustion. The Fool "fires us up" with the impetus for action when something is finished or goes stale. According to Jacquelyn Small 1 The Fool represents an inner attitude of Divine Innocence, willing to have total faith in the process of living. He casts himself totally -- and with gay abandon -- into all with which he comes into contact, and redeems whatever he meets. This quality of Divine Innocence is a form of continual humility in all our relations, which prevents any adversity from causing imbalance. Anything adverse The Fool encounters is brought to the heart of its positive quality with a sense of awe; it is transformed. Without accepting our dark or "unlived" side with this child-like quality, we take on a false spirituality, one where "niceness" replaces the raw beauty of real-ness. This Divine Person has so much faith in this process and in God; a symbol of our core Self. "Fools rush in where angels fear to tread." This is the one who always takes us to the next level, not afraid of stepping off the bluff into the chasm of the Unknown. The Fool combines wisdom, madness, and the folly of the spiritual adventurer, but never stays attached when it's time to move on. Confounding the establishment by playing God’s Fool Committee Card by Suzie Wolfer Trickster is one of The Fool's most loved tricks. When this archetype is present and active in your psyche, you can be completely unpredictable and amoral -- a divinely sanctioned lawlessness that is hard to rationalize -- guided wholly by an experimental attitude toward life. In this willingness to be so un-programmed by culture, tribe, or society, we carry the makings of the Hero/Savior archetype. This provides us the archetypal impulsive curiosity that continually moves us toward the fulfillment of our ideal, though we're often surprised at how this comes about. In the Grail legend, Galahad showed the power of the Fool archetype of Parsifal who welds together a broken sword, accomplishing what all the heroic knights were unable to do. The innocent or fool represents that part of us who is willing to ride off into the unknown, let go of preconceived ideas, old programming, ego, and intellectual ways of approaching things. That innocense allows intuitive life 1 http://www.themetaarts.com/2004sept/jaq.html The Fool Archetype by SuzIe Wolfer LCSW www.suziewolfer.com . page 2 forces to emerge. The Archetypal Fool interrupts our plans to open a new door to who we were really meant to be and what the Universe needs us to do. The Fool leaves the past behind. He carries nothing more than his purity, innocence and trust. No matter how many times the Fool is deceived; she goes on trusting, acting “like a fool.” Her trust and innocence springs eternal and is incorruptible. She has no interest in being other than where she is. The Fool tells the truth! In history and legend, the Court Jester Fool came closest to the seat of power and had the capacity to reveal the truth. Because no one took them seriously, the Jester was able to influence and cajole the King, and in some cases bring them back from the brink of maddness and obcession. In the Dark Times in Europe past, the Jester Tribe spread through out Europe carrying news, using influence to move the ruling class to see the value in more humane treatment of their subjects. They traveled under their convincing cover as buffoons and thus had access to power and resources with which to promote their goal of humanist values. Shrek Community Card We may have been chosen by the Fool Archetype. The lives of Robin Williams and other comics portray this partnership with “the Fool. The Fool can show up in all four suits, not just the Council suit: as a committee member, disrupting our plans; as an Animal Companion such as Coyote teaching us about mischief or as a Community member who inspires us to break out of our limiting stories, such as Byron Katie. The Fool can also dance in and out of our lives, especially in childhood and Elderhood. During these life epochs, we partner with the Fool when we either don’t notice or don’t care about the rules that govern modern life. We don’t conform. We aren’t trying to impress or get ahead. We may love life but we’re not attached to it, living instead in simplicity and joy. The S hadow F ool The Shadow Fool can be a strong player in chemical dependency problems, when we are taken over and our judgment clouded when we long to be innocent and fun loving and happy. We seek the Fool’s apparent care free life but then wake up to the consequences of the Shadow Fool’s choices for us. In recovery, the Fool can become our ally alerting us to when we are off balance, as they say in AA, when we are hunger, angry, lonely or tired, the Shadow Fool may tempt us to drink or smoke our way into problems. So we watch for the Fool to point us in the direction we do NOT want to go. We may also fear the Shadow Fool and in our resistance try to block spontaneity and then, can act with blindness, rashness, or cruelty in the name of humor. We may love foolishly over and over, never seeing the pattern repeating itself as we watch our lives self descruct. For example, when in the grip of the Fool, we may impulsively act, say things that the other members of our “board” may be unprepared to support. We might feel foolish, for acting so rashly! But then time may reveal that we indeed made a wise move with the Fool’s help. Only with time, conscious awareness and resourcefulness can we know the outcome when the Fool dances into our lives. Most people have a the Fool in their “shadow bag” either fearing or trying to control the impulse to go innocently into the unknown. To do anything else would be . well foolish! The Fool Archetype by SuzIe Wolfer LCSW www.suziewolfer.com . page 3 H ow the F ool Archetype engages & challenges us . The Fool invites us to begin an adventure in innocence and trust. You can almost hear him or her whistling as s/he steps once more onto the path, embracing future with optimism.
Recommended publications
  • JUNE 27–29, 2013 Thursday, June 27, 2013, 7:30 P.M. 15579Th
    06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 23 JUNE 2 7–29, 2013 Two Works by Stravinsky Thursday, June 27, 2013, 7:30 p.m. 15, 579th Concert Friday, June 28, 2013, 8 :00 p.m. 15,580th Concert Saturday, June 29, 2013, 8:00 p.m. 15,58 1st Concert Alan Gilbert , Conductor/Magician Global Sponsor Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Giants Are Small Generous support from The Andrew W. Mellon Foundation, Clifton Taylor, Lighting Designer The Susan and Elihu Rose Foun - Irina Kruzhilina, Costume Designer dation, Donna and Marvin Matt Acheson, Master Puppeteer Schwartz, the Mary and James G. Margie Durand, Make-Up Artist Wallach Family Foundation, and an anonymous donor. Featuring Sara Mearns, Principal Dancer* Filming and Digital Media distribution of this Amar Ramasar , Principal Dancer/Puppeteer* production are made possible by the generos ity of The Mary and James G. Wallach Family This concert will last approximately one and Foundation and The Rita E. and Gustave M. three-quarter hours, which includes one intermission. Hauser Recording Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic June 2013 23 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 24 New York Philharmonic Two Works by Stravinsky Alan Gilbert, Conductor/Magician Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director A production created by Giants Are Small Clifton Taylor, Lighting Designer Irina Kruzhilina, Costume Designer Matt Acheson, Master Puppeteer Margie Durand, Make-Up Artist Featuring Sara Mearns, Principal Dancer* Amar Ramasar, Principal Dancer/Puppeteer* STRAVINSKY Le Baiser de la fée (The Fairy’s Kiss ) (1882–1971) (1928, rev.
    [Show full text]
  • Holy Fools, Secular Saints, and Illiterate Saviors in American Literature and Popular Culture
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 5 (2003) Issue 3 Article 4 Holy Fools, Secular Saints, and Illiterate Saviors in American Literature and Popular Culture Dana Heller Old Dominion University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Heller, Dana. "Holy Fools, Secular Saints, and Illiterate Saviors in American Literature and Popular Culture." CLCWeb: Comparative Literature and Culture 5.3 (2003): <https://doi.org/10.7771/1481-4374.1193> This text has been double-blind peer reviewed by 2+1 experts in the field.
    [Show full text]
  • Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films Through Grotesque Aesthetics
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 9-10-2015 12:00 AM Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics Leah Persaud The University of Western Ontario Supervisor Dr. Angela Borchert The University of Western Ontario Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Leah Persaud 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons Recommended Citation Persaud, Leah, "Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics" (2015). Electronic Thesis and Dissertation Repository. 3244. https://ir.lib.uwo.ca/etd/3244 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. WHO’S THE FAIREST OF THEM ALL? DEFINING AND SUBVERTING THE FEMALE BEAUTY IDEAL IN FAIRY TALE NARRATIVES AND FILMS THROUGH GROTESQUE AESTHETICS (Thesis format: Monograph) by Leah Persaud Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Leah Persaud 2015 Abstract This thesis seeks to explore the ways in which women and beauty are depicted in the fairy tales of Giambattista Basile, the Grimm Brothers, and 21st century fairy tale films.
    [Show full text]
  • Put on the Mask
    Alternate Scripts - Superheroes PUT ON THE MASK An Alternate Script for The Play's The Thing By Brian Engard For more information about The Play's The Thing and Magpie Games, visit us at www.magpiegames.com/theplay Alternate Scripts - Superheroes Biff! Bam! Pow! We all know what superheroes are. They can do things no normal person can, stand against forces the rest of us can't hope to combat, represent the ideals of our society -- even if they're ideals we've forgotten ourselves -- and they act as a beacon and an example for the rest of us. Superheroes also get into great, exciting fights and wear colorful Spandex uniforms. For all the dizzying number of superheroes (and villains!) out there, they're each subtly different from one another, each driven by his or her own motivations and background. Oh sure, eye lasers and the ability to fly are flashy and exciting and cool, but it's the human drama, the relationships and mortal struggles of these sometimes godlike beings that grounds them, makes them relatable, and makes us keep watching them. Sometimes superhero drama comes from the hero's need to see justice -- or vengeance -- done. Sometimes it's a need to protect that which the hero holds dear. Sometimes it's the struggle that comes with suddenly being thrust into a mantle of great power, and the enormous responsibility that comes with it. The only difference between a superhero and a supervillain is how the individual character reacts to these motives, how far she or he is willing to go to see justice -- or vengeance -- done, what lengths the character is willing to go to to protect something, or how the hero -- or villain -- handles that mantle of power and responsibility.
    [Show full text]
  • Adventuring with Books: a Booklist for Pre-K-Grade 6. the NCTE Booklist
    DOCUMENT RESUME ED 311 453 CS 212 097 AUTHOR Jett-Simpson, Mary, Ed. TITLE Adventuring with Books: A Booklist for Pre-K-Grade 6. Ninth Edition. The NCTE Booklist Series. INSTITUTION National Council of Teachers of English, Urbana, Ill. REPORT NO ISBN-0-8141-0078-3 PUB DATE 89 NOTE 570p.; Prepared by the Committee on the Elementary School Booklist of the National Council of Teachers of English. For earlier edition, see ED 264 588. AVAILABLE FROMNational Council of Teachers of English, 1111 Kenyon Rd., Urbana, IL 61801 (Stock No. 00783-3020; $12.95 member, $16.50 nonmember). PUB TYPE Books (010) -- Reference Materials - Bibliographies (131) EDRS PRICE MF02/PC23 Plus Postage. DESCRIPTORS Annotated Bibliographies; Art; Athletics; Biographies; *Books; *Childress Literature; Elementary Education; Fantasy; Fiction; Nonfiction; Poetry; Preschool Education; *Reading Materials; Recreational Reading; Sciences; Social Studies IDENTIFIERS Historical Fiction; *Trade Books ABSTRACT Intended to provide teachers with a list of recently published books recommended for children, this annotated booklist cites titles of children's trade books selected for their literary and artistic quality. The annotations in the booklist include a critical statement about each book as well as a brief description of the content, and--where appropriate--information about quality and composition of illustrations. Some 1,800 titles are included in this publication; they were selected from approximately 8,000 children's books published in the United States between 1985 and 1989 and are divided into the following categories: (1) books for babies and toddlers, (2) basic concept books, (3) wordless picture books, (4) language and reading, (5) poetry. (6) classics, (7) traditional literature, (8) fantasy,(9) science fiction, (10) contemporary realistic fiction, (11) historical fiction, (12) biography, (13) social studies, (14) science and mathematics, (15) fine arts, (16) crafts and hobbies, (17) sports and games, and (18) holidays.
    [Show full text]
  • Tricksters, Comedians, Fools, Tricksters Rogues, and Picaros
    TRICKSTERS, COMEDIANS, FOOLS, TRICKSTERS ROGUES, AND PICAROS: by Don L. F. Nilsen English Department Arizona State University Tempe, AZ 85287-0302 ( [email protected] ) Abrams, David M., and Brian Sutton-Smith. "The Development of the Trickster in Children's Narrative." Journal of American Folklore 90 (1977): 29-47. Ajayi, 'Bade. "Asa: The Court Jester in Yoruba Oral Tradition." Jolan: Journal of the Linguistic Association of Nigeria. 3 (1985): 113-121. Allen, Paula Gunn. Off the Reservation: Reflections on Boundary-Busting, Border-Crossing Loose Canons. Boston, MA: Beacon, 1998. Alter, Robert. Rogue's Progress: Studies in the Picaresque Novel. Harvard Studies in Comparative Literature 26 Cambridge, MA: Harvard University Press, 1964. Ammons, Elizabeth, and Annette White-Pak, eds. Tricksterism in Turn-of-the-Century American Literature: A Multicultural Perspective. Hanover, NH: Tufts University Press of New England, 1994. Amory, Frederic. The Entry of the Trickster to the High Cultures of the West. Folklore Prepint Series 5.2. Bloomington, IN: Folklore Publications Group, Folklore Studies Association, Indiana University, 1977. Amory, Frederic. "Three Profiles of the Trickster." Arv: Scandinavian Yearbook of Folklore [Finland] 44 (1988): 7-25. Arnold, A. James, ed. Monsters, Tricksters, and Sacred Cows: Animal lTales and American Identities. New World Studies. Charlottesville, VA: University Press of Virginia, 1996. Ashley Kathleen M. "The Guiler Beguiled: Christ and Satan as Theological Tricksters in Medieval Religious Literature." Criticism 24.2 (Spring, 1982): 126-1337. Auda, Valerie. "The Court Fool or Jester: A Historic Background." Cycnos [France] 5 (1989): 23-26. Babcock, Barbara Abrahams, ed. The Reversible World: Symbolic Inversion in Art and Society.
    [Show full text]
  • Super Heroes V Scorsese: a Marxist Reading of Alienation and the Political Unconscious in Blockbuster Superhero Film
    Kutztown University Research Commons at Kutztown University Kutztown University Masters Theses Spring 5-10-2020 SUPER HEROES V SCORSESE: A MARXIST READING OF ALIENATION AND THE POLITICAL UNCONSCIOUS IN BLOCKBUSTER SUPERHERO FILM David Eltz [email protected] Follow this and additional works at: https://research.library.kutztown.edu/masterstheses Part of the Film Production Commons, Literature in English, North America Commons, and the Screenwriting Commons Recommended Citation Eltz, David, "SUPER HEROES V SCORSESE: A MARXIST READING OF ALIENATION AND THE POLITICAL UNCONSCIOUS IN BLOCKBUSTER SUPERHERO FILM" (2020). Kutztown University Masters Theses. 1. https://research.library.kutztown.edu/masterstheses/1 This Thesis is brought to you for free and open access by Research Commons at Kutztown University. It has been accepted for inclusion in Kutztown University Masters Theses by an authorized administrator of Research Commons at Kutztown University. For more information, please contact [email protected]. SUPER HEROES V SCORSESE: A MARXIST READING OF ALIENATION AND THE POLITICAL UNCONSCIOUS IN BLOCKBUSTER SUPERHERO FILM A Thesis Presented to the Faculty of the Department of English Kutztown University of Pennsylvania Kutztown, Pennsylvania In Partial Fulfillment of the Requirements for the Degree Master of Arts in English by David J. Eltz October, 2020 Approval Page Approved: (Date) (Adviser) (Date) (Chair, Department of English) (Date) (Dean, Graduate Studies) Abstract As superhero blockbusters continue to dominate the theatrical landscape, critical detractors of the genre have grown in number and authority. The most influential among them, Martin Scorsese, has been quoted as referring to Marvel films as “theme parks” rather than “cinema” (his own term for auteur film).
    [Show full text]
  • A Damsel in Distress
    A Damsel in Distress Pelham Grenville Wodehouse Project Gutenberg's A Damsel in Distress, by Pelham Grenville Wodehouse #3 in our series by Pelham Grenville Wodehouse Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: A Damsel in Distress Author: Pelham Grenville Wodehouse Release Date: June, 2000 [EBook #2233] [This file was last updated on March 14, 2005] Edition: 11 Language: English Character set encoding: ASCII *** START OF THE PROJECT GUTENBERG EBOOK A DAMSEL IN DISTRESS *** Etext scanned by Jim Tinsley <[email protected]> [Transcriber's Note for edition 11: in para. 4 of Chapter 19, the word "leafy" has been changed to "leaky". "leafy" was the word used Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. in the printed edition, but was an obvious misprint.
    [Show full text]
  • The Myth of Russian Stupidity in Rfl Lessons
    International Scientific-Pedagogical Organization of Philologists (ISPOP) DOI: THE MYTH OF RUSSIAN STUPIDITY IN RFL LESSONS Natalia V. Roitberg PhD in Philology, lecturer University of Haifa (Haifa, Israel) e-mail: [email protected] Abstract. This study addresses the use of folklore materials among advanced and intermediate-level students of Russian. Special attention is devoted to the Russian folk character Ivan the Fool, the myth of Russian stupidity, and mechanisms by which the theme of foolishness presented in Russian folklore and literature. The paper focuses on the reading Russian fairy folk tales of Ivan the Fool (Leo Tolstoy’s “The Tale of Ivan the Fool and his two brothers” and the tale “Before the Cock Crows Thrice” by Vasily Shukshin) and the interpreting Russian proverbs and sayings about fools which are shown as conceptions of the myth of Russian stupidity. It was determined that the use of Russian folktales and proverbs as curriculum materials have a great educational significance, linguistic importance on Russian language teaching, as well as on the Russian language acquisition. Furthermore, folklore materials are considered efficient tools for foreign students’ deeper insight into Russian mentality and folk lore. Keywords: Russian as a foreign language lesson (RFL lesson), folklore materials, fairy tales, Ivan the Fool, the myth of Russian stupidity МИФ О РУССКОЙ ГЛУПОСТИ НА УРОКАХ РКИ Наталья Владимировна Ройтберг Кандидат филологических наук, лектор Хайфский Университет (Хайфа, Израиль) e-mail: [email protected] Аннотация. В статье рассматривается использование материалов устного народного творчества на уроках русского языка как иностранного студентам среднего и продвинутого уровней. Отдельное внимание уделено образу Ивана-дурака, мифу о русской глупости и способам репрезентации темы «простофильства» в русском фольклоре и литературе.
    [Show full text]
  • A Damsel in Distress by P.G. Wodehouse
    A Damsel in Distress By P.G. Wodehouse 1 CHAPTER 1. Inasmuch as the scene of this story is that historic pile, Belpher Castle, in the county of Hampshire, it would be an agreeable task to open it with a leisurely description of the place, followed by some notes on the history of the Earls of Marshmoreton, who have owned it since the fifteenth century. Unfortunately, in these days of rush and hurry, a novelist works at a disadvantage. He must leap into the middle of his tale with as little delay as he would employ in boarding a moving tramcar. He must get off the mark with the smooth swiftness of a jack-rabbit surprised while lunching. Otherwise, people throw him aside and go out to picture palaces. I may briefly remark that the present Lord Marshmoreton is a widower of some forty-eight years: that he has two children--a son, Percy Wilbraham Marsh, Lord Belpher, who is on the brink of his twenty-first birthday, and a daughter, Lady Patricia Maud Marsh, who is just twenty: that the chatelaine of the castle is Lady Caroline Byng, Lord Marshmoreton's sister, who married the very wealthy colliery owner, Clifford Byng, a few years before his death (which unkind people say she hastened): and that she has a step-son, Reginald. Give me time to mention these few facts and I am done. On the glorious past of the Marshmoretons I will not even touch. Luckily, the loss to literature is not irreparable. Lord 2 Marshmoreton himself is engaged upon a history of the family, which will doubtless be on every bookshelf as soon as his lordship gets it finished.
    [Show full text]
  • Depictions of Criminality in Superhero Cartoons
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sociology Department, Faculty Publications Sociology, Department of 2012 Rotten, Vile, and Depraved! Depictions of Criminality in Superhero Cartoons Lisa A. Kort-Butler University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/sociologyfacpub Part of the Criminology Commons, and the Social Control, Law, Crime, and Deviance Commons Kort-Butler, Lisa A., "Rotten, Vile, and Depraved! Depictions of Criminality in Superhero Cartoons" (2012). Sociology Department, Faculty Publications. 188. https://digitalcommons.unl.edu/sociologyfacpub/188 This Article is brought to you for free and open access by the Sociology, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sociology Department, Faculty Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Deviant Behavior 33 (2012), pp. 566–581; doi: 10.1080/01639625.2011.636718 Copyright © 2012 Taylor & Francis Group. Used by permission. Submitted February 18, 2011; accepted July 30, 2011. Support for this research was provided by the Haas Faculty Award, Department of Sociology, University of Nebraska–Lincoln. The author thanks Kayla Pritchard for her assistance on this project. Rotten, Vile, and Depraved! Depictions of Criminality in Superhero Cartoons Lisa A. Kort-Butler University of Nebraska–Lincoln, Lincoln, Nebraska, USA Correspondence: Lisa A. Kort-Butler, Department of Sociology, 711 Oldfather Hall, P.O. Box 880324, Lincoln, NE 68588-0324, USA; email [email protected] Abstract The literature argues that media depictions of crime present messages that conform to and promote the dominant ideology about the causes of crime and the nature of crimi- nality.
    [Show full text]
  • Fools, Clowns, Jesters: an Attempt to Understand Certain Low Comic Héroes in Shakespeare
    BIBLID 1136-3169 (2004-2005) pp. 283-294 FOOLS, CLOWNS, JESTERS: AN ATTEMPT TO UNDERSTAND CERTAIN LOW COMIC HÉROES IN SHAKESPEARE TERESA GUERRA BOSCH Universidad de Las Palmas Gran Canaria RESUMEN Shakespeare creó tantos personajes cómicos —no sólo en sus comedias sino también en sus obras más trágicas— que intentar clasificarlos parece una tarea imposible. Sin embargo, con la ayuda de parte de la reciente investigación en las comedias de Shakespeare, y limitándonos en este ensayo al estudio de los "héroes cómicos" que podríamos denominar "fools", (el "fool" oficial que suele ser más inteligente y cuerdo que el resto de los personajes, y que aparece en King Lear o tal vez Feste; el simplón, aquel upo de personaje más limitado mentalmente como los "mecánicos" en Midsummer Night's Dream, los "tedious fools" tipo Pollonius y finalmente todos aquellos que no pertenecen a ninguna de las tres clases mencionadas). ABSTRACT Wüliam Shakespeare drew so many different comic héroes —not only in his comedies but also in his tragedles and histories— that to attempt a classification of them seems a daunting task. However, with the help of much of the recent research on Shakespeare's comedies and comic héroes, and limiting myself in the present essay to the study of some of his comic characters that wiU qualify as fools, (the so-called fools who happen to be wiser than anybody else, the type of fool we see in Ki»g Lear or perhaps Feste; the simpletons, the simplest of them all like the mechanicals of Midsummer Night's Dream, and those "tedious fools," those fools that are merely in- between), this essay will clarify Shakespeare's use of low comic humour.
    [Show full text]