I'm still on the Jung kick. I'm fascinated by the connection between archetypes, language, and the brain. Here's a "scheme" (read: imaginative working idea or fantasy) of the development of archetypes (though I'm stretching the definition here, I know) that parallels the evolution of the brain and consciousness (though I assume archetypes still exert influence on all of these levels as we retain the more "primitive" functions of our brains).
As the archetypes develop they become more self-reflexive, language-based, and abstract, and then perhaps transcend language-based knowledge to a higher-level of consciousness (beyond our current linguistic capacity). Still they remain connected to images through either biological or cultural inheritance.
1. The first order of the “archetype” are mental representations of real objects, related to survival drives (fear and desire)--animals, human figures, environmental forces etc. These inhabit the collective consciousness as a set of common human emotions that mediate the external world and our basic needs. But they are not static. [See the film Mongol. Genghis Khan won respect by showing no fear of thunder--evolving beyond that basic fear.]
2. The second order are symbols related to magic and ritual--the familiar realm of myth and "practical magic." These symbols “help” to bringing external forces within our sphere of influence, through representations that we can literally manipulate (handle). This is a secondary level of abstract representation (human consciousness proper), corresponding with the development of art objects and ritual practices. It corresponds to the "big bang of human culture" 60,000 years ago, and is parallel to cognitive fluidity as higher levels of cognitive integration and neurogenesis.
3. Third are socio-cultural symbols--human figures or stereotypes posited to create and sustain social order (i.e. the patriarchy). These are unconscious templates or filters through which we see others (boxes out of which we now need to escape). Such figures aid identity and social formation through the co-construction of inherited narratives that literally sculpt the brain and our modes of perception. They parallel the evolution of agriculture (perhaps), the consolidation of social order, and learning through stable and complex oral traditions. Such figures influence perception as memory. Through them language becomess epistemic. We can see only that which we have been trained to see and that for which we have linguistic concepts. [See also theories of early childhood development, socialization, and the current neuroscience of perception].
4. The fourth order are patterns of thought. On a more self-conscious (self-reflexive) level we don't identify parts of ourselves or others with archetypes, but understand them as figurative representations of patterns of thought, to give us some distance on our own cognitive and affective habits. This version arises with the birth of psychoanalysis though the discourse is still haunted by gender assumptions and the patterns still inhabit the collective consciousness. At some point within this stage, however, gender should become irrelevant to archetypes. Among these are the classical Jungian archetypes, but they are also evolving. [Example: Virgin represents purity of thought or intent on any number of levels but has nothing to do with women or men or sexuality (not categorically at least). We can think about purity not as a role or character trait but as a mode of thought that we can use productively or critique.]
5. The fifth order are Totems of Transcendence—always part of the collective unconscious but emerging with everyday mysticism. Jung talks about transcending paradoxes and insoluble problems, by reaching a higher level of consciousness. He also talks about forces and energies (i.e. Eros) that are really beyond our control. These are also totems of maturity as understanding the limits of our knowledge, and self-mastery, rather than control over others and the environment . . . respectfully submitting to larger forces. [An expert sailor respects Nature--he never challenges her.] Certainly we can get burned playing with (cosmic) fire, but we can also employ the archetypes to help guide us out of situations, or through challenges that are *beyond the limits of our knowledge.* They can help us tap into higher levels of consciousness. Ancient and newly emerging symbols of transcendence include waves, spirals, domes, circle squared, repeating patterns, inversions of positive and negative space . . . (maybe even conceptual blends, Mark Turner, or tensegrity, Richard Doyle).
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