THE ARCHETYPAL ARCHIVE

 At the end of Part 3 I wrote: "Having addressed here the structural differences of monads and serials in these terms, Part 4 will deal...

 I began devoting lots of space to literary crossovers in 2021, but I don't think that concentration appreciably changed the narratologi...

 Following up on my observations in the essays of EMINENT ICONS AND PROPOSITIONS,  I'm moved to observe that eminence should be deemed ...

 In Part 3 of this essay-series, I asserted that the characters Henry Pym and Janet Van Dyne were better defined through their collective st...

 ...not all crossovers maintain the same levels of stature or charisma. For that reason, I find myself making a major distinction about whet...

 As I reviewed the original INDIVIDUAL AND COLLECTIVE STATURE , I decided that I had been too vague in giving my reasons for stating that a ...

The main reason I devoted time to sussing out "the two escalations"  was because the earlier-conceived term bears on my also sussi...

I've used my own term "escalation" twice on this blog for separate literary operations, though with the sense that they do con...

 In ICONIC BONDING PT. 1  I formulated three types of bonded ensembles using the Dick Grayson Robin as an example of a character who had par...

 In ESCALATION PROCLAMATION PT. 2 I wrote: This is the most important aspect of escalation with relevance to cultural significance. It does...

My entire formulation of bonded ensembles is oriented upon trying to discern which subordinate icons are, or are not, bonded to which supero...

 So in  GLAD TO MEET YOU FOR THE FIRST TIME AGAIN , I sketched out three types of "bonded ensembles" in which fictional icons coul...

In the previous post on this subject, I specified that whenever two or more icons with their own stature, a stature resulting from their ap...