Travel Reference
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to the appeal of the innocent archetype are likely to be loyal to a brand provided their experience
is positive, because they like predictability more than novelty.
Enacting the innocent archetype
Appendix 17.1 is a story in which it is possible to visualize the components of the innocent
archetype. This text represents the emic interpretation and contains an entire blog story.
Appendix 17.2 is a prediction matrix of the innocent archetype, developed using the literature
on the archetype (Hamilton 1942; Mark and Pearson 2001).
Kit, the protagonist, describes a journey in NewYork as an adventure in an ideal setting, be it
at the museum or in restaurants and cafes. The city becomes one huge playground for the sisters
and, like Daphne in Greek mythology (Hamilton 1942), they wander around happily and freely.
Optimism and contemplation run throughout the story, and the sisters are satisfi ed with the
solution that they fi nd for Erin to have contact with and photograph the work of the architect
Hector Guimard at the Museum of Modern Art, with the added benefi t of being able to visit a
place with many restaurants. Like Alice in Wonderland (Carroll 1992), the sisters take a hint
that they are given at the museum and discover that they are near this place, with many fun and
high quality opportunities. In the end, as when Daphne is turned into a tree, the sisters also have
their bad moments when they have their fi nal meal at the train station.
The story portrays an idealized view of New York as the place to experience freedom,
wonderful possibilities and enjoy life by adopting the idealism (and to a certain extent naivety)
of the innocent archetype.
When the Innocent's 'Archetypal Story Pattern Instrument (ASPI)', proposed and described
in Appendix 17.2 , is applied to analyze the consumer's story, the result is that all 16 theoretical
propositions match with the observed features in the story. The DFA approach and the prediction
matrix can confi rm or disconfi rm the theory based on case data, in this case the story nuances
and details. This perfect level of matching occurred independently for two judges trained in
psychology but who were unfamiliar with the relevant literature on storytelling.
The DFA may represent, therefore, a fl exible and objective approach for examining the
consumer's discourse in search of patterns that confi rm (or disconfi rm) a specifi c archetypal
theme.
Example 2: The magician archetype
Making the dream a reality occurs through moments of magical transformations. That is the
mission of the magician archetype. One of the most representative characters of this archetype is
Merlin (Mark and Pearson 2001). In the foreword to Merlin through the Ages , Spangler (1995: 12)
claims that Merlin is not only a character with power but 'someone who uses any power or
resource available to bring something new into being, and to guard and nourish it until it is able
and in its rightful place in the scheme of things, whether it is a baby, an idea or a civilization.'
Thus, his power is at the service of a new vision and new possibilities.
Therefore, progress and happiness are the goals of the magician, for himself and for others, to
develop a vision and make it come true. According to Pearson (1998), when the magician
archetype is activated, the person feels confi dent that he knows what must be done to transform
his life and his world, including in this 'vision' the will to run some risks, if required. Every
culture pays attention to this type of character, beginning with a shaman, medicine man or
alchemist and in modern times as the central fi gures in many religions (Mark and Pearson 2001).
Campbell (1988) goes as far as saying that these characters may represent the way in which some
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