Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

Standard 3 – Adapting Instruction for Individual Needs

The teacher understands how students differ in their approaches to learning and creates
instructional opportunities that are adapted to diverse learners.

Artifact II for Standard Three: Adapting Instruction for Individual Needs

Name of Artifact: Final Paper ADE545 Sociocultural Context of Adult Education

Date: Spring 2009

Course: ADE545 The Sociocultural Context of Adult Education

Rationale

During the spring of 2009 I took an elective course in USM’s Adult Education

department called “The Sociocultural Context of Adult Education.” I took this course because I

plan to teach English as a 2nd language (ESL) to adults and hoped it would provide some insight

into the worlds of the adults I plan to teach. The readings for this course focused on marginalized

individuals including – minorities, immigrants, prisoners, homosexuals and mentally and

physically challenged persons. Our final assignment was to pick a marginalized group and create

a proposal for an educational workshop. I was extremely moved by our readings on women

prisoners and chose to make my proposal an autobiographical writing workshop for incarcerated

women using a concept from psychology called the ‘archetype’. In support of Standard 3,

Adapting Instruction for Individual Needs, I offer this artifact “Final Paper ADE545

Sociocultural Context of Adult Education,” that I created for the course. I am including this

artifact in Standard 3 because creating it required me to adapt an academic classroom activity

(autobiographical writing) into a workshop for diverse individuals with the ultimate goal of self-

realization for the workshop participants. As language teachers, we are well aware of the power

of language, but I think we sometimes place language in a box labeled “for communication

purposes only”. We forget that language can and does have potential for other things, namely
 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

healing. This was an important project for my future career as an ESL teacher because it

demonstrated that I can adapt my instruction of the English language to a group of diverse

learners. I plan to incorporate autobiographical storytelling into my future classroom, and hope

that I will have the opportunity to utilize the work I did for this proposal.
 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

Artifact II – Final Paper ADE545 Sociocultural Context of Adult Education

Running Head: FINDING VOICE

Finding Voice through Archetypal Storytelling:

A Workshop Proposal for Incarcerated Women

Joely C. Rogers

University of Southern Mississippi

 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

Abstract

The goal of this paper is to demonstrate that autobiographical storytelling can be a way for

incarcerated women to regain their silenced voices and become aware of the patterns and

structures in their lives, including those which may have contributed to their incarceration. To

facilitate this goal, we propose a creative writing workshop which grants women prisoners the

opportunity to create an autobiographical story. This workshop utilizes a psychological concept

called the archetype as a tool for constructing the autobiographical story. The paper briefly

discusses the cultural importance of storytelling, offers evidence about a connection between

storytelling and healing, and provides a complete lesson plan for the proposed workshop.
 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

Finding Voice through Archetypal Storytelling:

A Workshop Proposal for Incarcerated Women

Imagine a world of walls. Some are tangible – concrete blocks, steel bars, and razor wire.

While others – shame, labeling, and rejection by family and society are incorporeal, but feel

equally solid. Life is a world of walls - of separation, and your voice a muted scream barricaded

behind them.

This metaphor about life in prison originated in our imagination; however, for the many

incarcerated women around the country, this sense of separation is a daily reality. You are

literally surrounded by walls, both external and internal, and perhaps feel as if your voice is lost

within them. Sheared & Sissel (2001) say that prison silences women both societally and

structurally, making them invisible in the process. Silencing is a dehumanizing process. Our

ability to speak is part of what makes us inherently inhuman. If you lack a voice, and feel

dehumanized and invisible, chances are that your motivation for healing and personal growth is

fairly low, if not non-existent. Sheared & Sissel (2001) believe that helping incarcerated women

“gain a voice is a first step in not only making them visible, but in making visible the oppressive

structures that precipitated their criminal actions” (p. 178).

The goal of this paper is to demonstrate that autobiographical storytelling can be a way

for incarcerated women to regain their silenced voices and become aware of the patterns and

structures in their lives, including those which may have contributed to their incarceration. To

facilitate this goal, we propose a creative writing workshop which grants women prisoners the

opportunity to create an autobiographical story.

Neither autobiographical storytelling nor prison writing workshops are new inventions.

What makes this workshop proposal unique is the use of a psychological concept called the
 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

archetype as a tool for constructing an autobiographical story. First introduced by Carl Jung,

archetypes are a universal thought form or predisposition to respond to the world in certain ways

(Engler, 2006). One of the easiest ways to identify archetypes and understand their universality is

to watch a movie. The characters of a movie (or a book or play) are normally pure archetypal

representations. While watching a movie we can all easily recognize Heroes/Heroines, Villains,

Thieves, Queens/Kings, Mothers/Fathers, Rebels, etc…the list is endless. And, if we think

carefully about our own lives, we can recognize these same characters, these archetypes, in the

form of our family, our friends, society, and ourselves. Archetypes are universal patterns that

transcend the constructs of culture and language, while at the same time remaining deeply

interwoven within them.

The primary objective of Adult Basic Education (ABE) is self-actualization through

education (Mississippi Department of Corrections, n.d.). Prisons are homogenous interiors filled

with diverse individuals differing in class, race, sexuality, and religion. How can adult educators

transcend these ‘isms’ to facilitate self-actualization and foster a sense of community among a

group of women prisoners? We feel that a creative writing workshop, where the women utilize

archetypes, the ultimate cross-cultural symbols, to create autobiographical stories about their

lives is one path to self-actualization, which can also serve to create a sense of community within

the group. Leeming & Sader (1997) say “stories improve understanding by building bridges of

intellectual, emotional, and spiritual connections among peoples (p. 8). By writing and sharing

their archetypal stories, these women may become aware of the patterns and structures in their

lives, and develop sense of control over themselves and their futures. And, perhaps by doing so,

regain their lost voices.

 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

This paper is comprised of 3 sections. The 1st section is a short introduction to

storytelling and a discussion about its cross-cultural importance followed by a commentary on

writing as a tool for personal healing and transformation. The 2nd section describes the workshop

proposal. It discusses the rational for creating the workshop, provides a broader definition of

archetype, and explains the writing exercises utilized in the workshop. The 3rd and final section

of the paper contains the workshop materials presented as appendices: a general instructional

plan, a list of common archetypes, an explanatory handout on archetypes, exploratory warm-up

exercises, a primary writing assignment, and a list of relevant footnotes. And now…. the story,

we begin, of course, at the beginning.

A Short Story about the Importance of Story

Caitlin and John Matthews (2003) say “the language of metaphor is the first language; the

subtle conveyance of meaning through the allusions of song and story is the first brushstroke of

image and symbol” (p. 24). Today, when we think about classic stories, we may think of fairy or

mythological tales, or maybe literary works by Shakespeare, Voltaire, William Faulkner, or even

the Holy Bible. One thing all of these great stories have in common is that they are written down.

Written language as we know it today originated approximately 5,000 years ago from a writing

system developed by the Sumerians called cuneiform, which consisted of symbols pressed onto

clay tablets (Henry, 2003). The first stories, however, originated long before the advent of

written language and were used not only for entertainment, but also as important educational

tools. Perhaps the best description of the importance of story comes from Lakota Sioux, and

author of The Lakota Way, Joseph Marshall III. Marshall writes books about spirituality and

ethical living using Lakota history and folklore. When asked about his Native American

upbringing, Marshall (2001) describes the central place of stories in the Lakota society:
 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

Stories and storytelling were all around me in my childhood. The storytellers were my

Lakota grandparents – both maternal and paternal – and others of their generation. Stories

entertained and informed, but, of course, that was only their obvious purpose. Tales and

allegories told by Lakota elders very directly enabled an entire culture to survive because

they carried the culture within them. The stories I learned growing up were consciously

told again and again to teach me about life – my purpose in it and my path through it. (pp.

xii-xiii)

Stories are told everywhere in the world, and metaphors describing the story as analogous

to glue abound in all cultures. Malidoma Some (1998) says that “without stories, a society will

find it difficult to hold itself together (p. 250). Some is a modern-day scholar with three masters’

degrees and two doctorates. He is also an indigenous African shaman from Burkina Faso’s

Dagara tribe, who is tasked with remembering his tribe’s wisdom (their stories) and spreading it

out into the world. Across the globe in America, well-known art therapist Lucia Capacchione

(2001) says “Storytelling is as old as human culture. In fact, it may be the glue that holds a group

together. What is common to all great storytelling, from homespun yarn to box-office bonanza, is

that it speaks to the universal human condition” (p. 178). Capacchione facilities art and writing

workshops to help individuals uncover their personal stories. This apparent universality of stories

is akin to our earlier discussion about archetypes. It raises the question of whether the humble

story is, in fact, the greatest archetype of all.

Writing and Healing

From our broad discussion about the importance of story and storytelling, and its

proposed function as ‘glue’ in society at large, we now move to a more specific and intimate tale

– the autobiographical story. The main goal of this paper is to demonstrate that autobiographical
 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

storytelling can be a way for incarcerated women to regain their silenced voices and become

aware of the patterns and structures in their lives. There is, however, a potential secondary

benefit to telling your own story, which is a possible improvement in both psychological and

physical health. This discussion about autobiographical storytelling as a possible tool for

personal healing and transformation serves as a prelude to the introduction of our workshop

proposal.

Frank McConnell (1979), author of Storytelling & Mythmaking, argues that “stories

matter and matter deeply, because they are the best way to save our lives” (p. 3). He may not be

too far from the truth. Studies have demonstrated that storytelling has both psychological and

physical health benefits (Taylor & Williams, 2004). More specifically, in her article Pen, Paper,

Power!, writer Claudia Kalb (1999) discusses a study published in The Journal of the American

Medical Association (JAMA), which showed that writing exercises can help alleviate symptoms

of asthma and rheumatoid arthritis. What changes does storytelling create in the body which

results in improved health and well-being for the writer? Taylor & Williams (2004) thinks that

storytelling allows people to sort through their various issues and regaining a sense of control,

which results in reduced levels of anxiety and stress. Research shows that stress weakens the

human immune system (American Psychological Association, 2006). Theoretically, this means

that by reducing stress you may be either boosting your immune system, or allowing it to

function normally, possibly resulting in improved health. Maybe instead of reaching for the

prescription pad, our doctors should offer their parents a writing pad? Take two aspirins, write

about it, and call me in the morning.

One further comment we feel compelled to mention about the healing psychological

process associated with storytelling comes from Taylor & Williams (2004), who suggest that
 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

storytelling heals individuals because it “1) helps ameliorate negative feelings resulting from

feeling a lack of control over their lives; 2) it represents an attempt by individuals to discover

new meaning for episodes of past trauma in their lives in order to regain a sense of control; and

3) it creates an understanding that an individual’s understanding of past events can guide their

future expectations for relationships with others and themselves” (p. 47).

A cautionary note for educators conducting writing workshops with the goal of personal

healing for their students comes from Molly Hurley Moran, an English professor who promotes

writing and healing in classroom. Moran (2004) writes “Of course, it’s important for instructors

to understand that writing may unleash painful feelings, and writers may find that they need the

support of skilled professionals to handle these feelings. Instructors should be prepared to make

appropriate referrals if the need arises” (p. 104). This note of caution harkens back to discussions

in ADE545: Sociocultural Context of Adult Education, about the role of adult educators. Our

profession is educator, not therapist, and while lending a sympathetic ear to a student who is

experiencing painful feelings may be highly beneficial, we must remember that genuine

psychological counseling is beyond our qualifications.

This concludes the 1st section of the paper, and we hope it served as a useful introduction

to the power of story and storytelling at both the individual and societal levels. We now move to

the 2nd section of our paper, the workshop proposal. This section discusses the rational for

creating the workshop, describes the workshop’s general instructional plan, provides a broader

definition of archetypes, and explains the writing exercises utilized in the workshop.

Introduction to the Workshop Proposal

Alfred (2002) says “sociocultural approaches to learning are based on the concept that

human activities take place in cultural contexts, are mediated by language and other symbolic
 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

systems, and can be best understood when investigated in their historical development” (p. 5).

We feel that a creative writing workshop, which grants women prisoners the opportunity to

create an autobiographical story meets the criteria for a sociocultural approach to learning. The

women participating in this workshop will be tasked to investigate aspects of their human

development (their life) by using language and a symbolic system, i.e. the archetype, as means

for personal growth and transformation.

One particular comment that instructors should make to participants in this workshop

relates to the word ‘authorship’, which shares a common root with the word ‘authority’. Keen &

Valley-Fox (1973) say that “whoever authors your story authorizes your actions. We gain

personal authority and power in the measure that we question the myth that is upheld by ‘the

authorities and discover and create a personal myth that illuminates and informs us” (p. xiv).

General Instructional Plan for the Workshop

The instructional plan for the workshop, located on Appendix A, is straightforward. It

provides a description of the workshop, the estimated time required to complete, a list of the

workshop’s activities and required materials. It outlines what the instructor should accomplish in

each of the 4 – two hour sessions. Most importantly, it lists the goals for the workshop, - to ‘un-

silence’ the workshop participants, to help them become aware of the patterns and structures in

their lives via the use of archetypal storytelling, and to build a sense of community amongst a

group of diverse women via the sharing of life stories and experiences, and to boost self-esteem

and foster self-actualization. The goals can be revisited by the instructor at the end of the

workshop, to determine if the workshop exceeded, met, or failed to reach them.

 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

Explaining Archetypes Further

Earlier we defined archetypes as a universal thought form or predisposition to respond to

the world in a certain ways (Engler, 2006). Psychologist Carl Jung, who originated the concept

of archetypes, said that “archetypes are without known origin; and they reproduce themselves in

any time or in any part of the world – even where transmission by direct descent or “cross

fertilization’ through migration must be ruled out” (Jung, 1964, p. 57). Jung’s comment alludes

to the universality of archetypes, which is precisely what makes them so useful in creative

writing workshop filled with diverse women. When explaining the concept of archetypes to

students, instructors should underscore this universality as a point of commonality which all the

students share.

One other comment about archetypes which instructors may find useful to share with

students is Campbell, Moyers & Flowers’ analogy of archetypes’ costumes. This analogy

demonstrates why the same archetypes may often appear different in other cultures. Campbell et.

al (1988) says that “all over the world and at different times of human history, these archetypes,

or elementary ideas, have appeared in different costumes. The differences in the costumes are the

results of environment and historical conditions” (p. 62).

Appendices B and C provide more information about archetypes, specifically they

provide a short list of them and the name of a resource where instructors can obtain further

information. Appendix B is a list of common archetypes meant to be a starting point for the

instructor’s research about the many archetypes in the world. Appendix C is an explanatory

handout on archetypes for the students. The handout provides a definition of archetypes,

duplicates Appendix B’s list of common archetypes, and defines 3 archetypes from the list:

ARTIST, HERO/HEROINE, and REBEL.

 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

Some instructors maybe concerned about the use of gender-biased language, e.g.

HERO/HEROINE, in the list of common archetypes. If this is bothersome, simply replace it with

a more gender neutral term, but take care to explain to the students that a HERO can be either

male or female.

A Few Words about the Writing Exercises

Instructions for the workshop’s writing exercises are listed in appendices D and E.

Appendix D is a set of exploratory warm-up exercises, which invites students to select 3

archetypes from the handout and write a half-page describing why each archetype fits you, and

how it has played a role in your life. Appendix E is the primary writing assignment, and invites

students to utilize one or more archetypes to create a 1 – 2 page autobiographical story about an

aspect of their life. Please note that while students are encouraged to use proper grammar and

spelling in their writings, it is definitely not a requirement for the assignment. The goal of the

assignment is to get the students writing, and hopefully by doing so they will gain an

understanding of how these archetypal patterns have played a role in their life.

Footnotes

There is a footnotes section for material that we felt was useful to the reader, but would

be cumbersome to read in the body of the paper. For example, footnote 1 details our conversation

with Bob Barker Company, the vendor of the maximum security clear flexible pens

recommended for use in the workshop.

Conclusion

The goal of this paper was to demonstrate that autobiographical storytelling can be a way

for incarcerated women to regain their silenced voices, and become aware of the patterns and

structures in their lives, including those which may have contributed to their incarceration. In this
 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

paper we have examined both factual and theoretical evidence, which describes the potential that

storytelling has for healing individuals and societies. Based on this evidence, we have designed a

workshop for incarcerated women that can be utilized to build a sense of community via the

sharing of life stories and experiences, boost self-esteem and foster self-actualization; which will,

hopefully, result in demonstrated healing.

In closing, we would like to share a quote from The Need for Story “within and through

stories, we fashion our relationships with others, joining with them, separating from them,

expressing in ways subtle and not so subtle our feelings about the people around us” (Dyson &

Genishi, 1994, p. 3). May our individual stories be part of the glue that forever binds together our

society and world!

 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

References

Alfred, M.V. (Ed.). (2002). Learning and sociocultural contexts. San Francisco, CA:

Jossey-Bass.

American Psychological Association (2006, February 23). Stress weakens the immune

system. APA Online. Retrieved April 27, 2009, from

http://www.psychologymatters.org/stressimmune.html

Campbell. J., Moyers, B. & Flowers, B.S. (Eds.). (1988). The power of myth. New York:

Anchor Books.

Capacchione, L. (2001). The art of emotional healing. Boston: Shambhala Publications,

Inc.

Dyson, A.H. & Genishi, C. (Eds.). (1994). The need for story. Urbana, IL: National

Council of Teachers of English.

Engler, B. (2006). Personality theories (7th ed.). Boston: Houghton Mifflin company.

Henry, M.K. (2003). Unlocking literacy. Baltimore, MD: Paul H. Brookes Publishing Co.

Jung. C.G. (1964). Man and his symbols. London, UK: Aldus Books.

Kalb, C. (1999, April 26). Pen, paper, power! Newsweek. Retrieved April 26, 2009, from

http://www.newsweek.com/id/88150

Keen, S. & Valley-Fox, A. (1973). Your mythic journey: Finding meaning in your life

through writing & storytelling. Los Angeles, CA: Jeremy P. Tarcher, Inc.

Leeming, D.A. & Sader, M. (Eds.). (1997). Storytelling encyclopedia. Phoenix, AZ: The

Oryx Press.

Marshall, J.M. (2001). The Lakota way. New York, NY: Penguin Compass.

Matthews, C. & Matthews, J. (2003). Walkers between the worlds: The western
 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

mysteries from shaman to magus. Rochester, VT: Inner Traditions.

McConnell, F. (1979). Storytelling & mythmaking. New York: Oxford University Press.

Mississippi Department of Corrections. (n.d.) Adult basic education. Retrieved April 26,

2009, from http://www.mdoc.state.ms.us/adult_basic_education.htm

Moran, M.H. (2004). Toward a writing & healing approach in the basic writing

classroom: One professor’s personal odyssey. Journal of Basic Writing, 23(2), 93-115.

Myss, C. (2002). Sacred contracts. New York: Three Rivers Press.

Sheared, V. & Sissel, P.A. (Eds.). (2001). Making space: Merging theory and practice in

adult education. Westport, CT: Bergin & Garvey.

Some, M. P. (1998). The healing wisdom of Africa: Finding life purpose nature, ritual,

and community. New York: Jeremy P. Tarcher/Putnam.

Taylor, J.Y. & Williams, R. (2004). Narrative art and incarcerated abused women. Art

Education, 57(2), 46-52.

 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

Appendix A

General Instructional Plan for the Workshop

Content Area/Subject: English language, biographical/creative writing, archetypes, psychology

Description: This is a creative writing workshop that requires students to reflect on and write
about various aspects their life experiences. In this workshop, students will learn to use a ‘tool’
from psychology called the ‘archetype’, to write an autobiographical story.
Estimated Time: 8 hours (4 – two hour sessions) plus additional time for homework.
Activities: Writing assignments, homework and class discussion.
Materials: legal pads or notebook paper, Maximum Security Clear Flexible Pens or Pencils1, and
an explanatory handout on archetypes
Student Requirements: Enrolled in Advanced (Literacy III) level class 2
Goals: To ‘un-silence’ the workshop participants, to help them become aware of the patterns and
structures in their lives via the use of archetypal storytelling, to build a sense of community
amongst a group of diverse women via the sharing of life stories and experiences, to boost self-
esteem and foster self-actualization.
Session 1: Introductions, discuss goals for the workshop, define/explain archetypes, answer
questions, and give students an explanatory handout on archetypes to take with them.
Session 2: Conduct a series of exploratory, warm-up writing exercises, answer questions/assist
students with the warm-up exercises, homework assignment – think of ideas for your primary
writing assignment.
Session 3: Introduce the primary writing assignment, answer students’ questions and assist them
with starting the primary writing assignment, homework assignment – finish the primary writing
assignment.
Session 4: Invite students to share their archetypal stories and participate in a group discussion
about what they have learned from writing them.
 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

Appendix B

List of Common Archetypes

CHILD STUDENT MOTHER

PRINCESS FATHER REBEL

QUEEN LOVER ADDICT

TEACHER VICTIM MYSTIC

BEGGAR ANGEL BULLY

WARRIOR CLOWN PRINCE

PROPHET SIREN THIEF

GOSSIP ATHLETE COWARD

STORYTELLER PRIEST/PRIESTESS KNIGHT

ARTIST KING SEEKER

SERVANT DREAMER TRICKSTER

HERO/HEROINE HEALER JUDGE

COMPANION/SIDEKICK DEVIL MISER

The list above is a sample of common archetypes. Once the student understands the concept of
an archetype, they should be encouraged to examine their lives for other archetypal patterns.
Movies, especially films like Star Wars and The Dark Knight (Batman), are filled with examples
of archetypes, and can be used to help students gain awareness of the many archetypes available
for their introspection and use. Be aware that some archetypes may be unfamiliar to students and
require additional explanation and/or concrete examples. A good source for explanations of
specific archetypes and examples of them in films, literature, religion, myth and fairy tales is
Caroline Myss’s book Sacred Contracts.
 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

Appendix C

Explanatory Handout on Archetypes

Definition of Archetypes: A universal thought form or predisposition to respond to the world in

certain ways.

List of Common Archetypes:

CHILD STUDENT MOTHER

PRINCESS FATHER REBEL
QUEEN LOVER ADDICT
TEACHER VICTIM MYSTIC
BEGGAR ANGEL BULLY
WARRIOR CLOWN PRINCE
PROPHET SIREN THIEF
GOSSIP ATHLETE COWARD
STORYTELLER PRIEST/PRIESTESS KNIGHT
ARTIST KING SEEKER
SERVANT DREAMER TRICKSTER
HERO/HEROINE HEALER JUDGE
COMPANION/SIDEKICK DEVIL MISER

Three Common Archetypes Explained 3:

ARTIST – the artist represents the need for creative self-expression. Some of the many forms of
self-expression include: writing, cooking, craftwork, painting/drawing, landscaping/gardening,
singing, dancing, and storytelling.

HERO/HEROINE – the hero/heroine represents strength, determination and victory. It can also
represent an individual that undertakes a journey of initiation to awaken an inner knowing or
spiritual power (Myss, 2002).

REBEL – the rebel represents challenge to established authority. An individual can rebel against
their family, a peer group, society, or even an abstract idea, e.g. democracy, religion.
 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

Appendix D

Exploratory Warm-up Exercises

Instructions: Select three archetypes from the handout that seem to fit your personality or

resonate with your life experiences. Write a half-page describing why each archetype fits you,

and how it has played a role in your life. For example: “I am an ARTIST. I can’t imagine a life

where I couldn’t paint, write, cook, sew, etc… I am a GOSSIP. This has gotten me into trouble.

Let me tell you about the time…I am a LOVER. My many adventures as a lover include…I am a

REBEL. My issues with authority have resulted in….” Try to think deeply about the archetypes

you have chosen. If you finish early, select three more and keep writing. Proper grammar and

spelling are a plus, but not required for the assignment. The goal is to WRITE!
 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

Appendix E

Primary Writing Assignment

Instructions: Select one or several archetypes. The archetypes can be from the list

provided, or they can be of your own choice. Use the archetype(s) to write an autobiographical

story about an aspect of your life. It can be one story, or several mini stories, and the time-frame

can be in the past or the present. The overall length of the assignment should be 1 – 3 hand-

written pages, but it may be longer if you wish. Proper grammar and spelling are a plus, but not

required for the assignment. The goal is to WRITE, and by doing so develop an understanding of

how these archetypal patterns have played a role in your life.

 Standard 3 – Adapting Instructions for Individual Needs Artifact 2 Joely Rogers

Footnotes
1
Maximum security clear flexible pens or pencils can be purchased at Bob Barker

Company https://bobbarker.com. Per a personal communication on April 24, 2009 with Paula, a

customer service manager at Bob Barker, the pens/pencils are designed for use at any facility,

e.g. prisons, hospitals, detention centers, mental institutions, where there is potential for

individuals to harm themselves or others.

2
Advanced (Literacy III) level class is a class administered by the Windham School

District, a correctional education facility based in Huntsville, Texas. Their website is

http://www.windhamschooldistrict.org.
3
Explanations are based on a combination of the author’s subjective beliefs and her

readings from Caroline Myss’s book Sacred Contracts. They are meant to be used a starting point

for thinking about potential meanings of archetypes. Students should be encouraged to formulate

their own thoughts and beliefs about the meanings of each archetype to them.