Two theories which will be discussed in this essay is the dispersion theory and collective unconscious. Dispersion theory proposes that myths and legends are dispersed through cultural diffusion. This theory places that archetypal themes and stories are shared across various social orders because of contact, exchange, migration, or conquest. In this view, common topics in myths are viewed as varieties that result from the spread of stories between various societies. Applying this theory to myths can assist us with understanding how legends spread geologically and how various social orders adapt and rethink archetypal elements in light of their own cultural settings. It highlights the interconnectedness of human societies and how widespread subjects can rise above topographical limits. On the other hand, theory of the collective unconscious recommends that there are inborn and widespread mental patterns shared by all people.  These unconscious designs, including models, impact our thoughts, feelings, and ways of behaving (Thibeault & Brenda 157). When applied to myths, this theory features that myths arise not exclusively from social dissemination, but rather likewise from well-established human encounters and psychological needs. Therefore, myths are an impression of the collective unconscious, communicating universal motifs and symbols that resound across societies and ages. Therefore, understanding myths from the perspective of the collective unconscious assists us with investigating the ongoing ideas of human experience and the fundamental mental inspirations that lead to comparative archetypal narratives in different social orders. Some of the terminologies that will be constantly used in this essay include archetype, mythology, collective unconscious, myth and artist. An archetype is a universal, fundamental symbol that transcends cultural boundaries and recurs in various stories, myths, and artworks. It addresses shared human encounters and feelings. On the other hand, mythology alludes to an assortment of customary stories, legends, and belief s that a specific culture or society uses to make sense of its starting points, convictions, ceremonies, and values.  It frequently includes divine beings, legends, and heavenly components.  Likewise, the collective unconscious is an idea in psychology, coined by Carl Jung, addressing the shared reservoir of innate thoughts, recollections, and symbols that all people acquire (Ertman 83). It impacts conduct and inventiveness. A myth is a story that might mix truth and fiction to make sense of key parts of the real world, frequently including divine beings, legends, and emblematic occasions.  Myths convey social implications, convictions, and insights. Lastly, an artist is a person who showcases creativity through different structures, as visual expressions, music, writing, or performing expressions. Artists utilize their abilities and creative mind to evoke feelings, convey thoughts, and deal new points of view.

In discussing the comparison in cultural variations, Loki shares similarities with the Artist archetype because of his capability to solve problems and his transformational abilities. Creators frequently track down unusual ways of handling challenges and rejuvenating their dreams, just like Loki utilized his shapeshifting ability to accomplish his objectives, regardless of whether it prompted startling results. However, according to Lindow (53), it is vital to note that charitable aims do not drive Loki's creativity. His actions frequently disturb the concordance of the Norse pantheon, highlighting a darker side of creative articulation that can prompt disarray.  On the other hand, the similarities between Ptah and the artist archetype lie in their jobs as creators who shape the world through their craft (Thibeault & Brenda 153). Both address the force of inventiveness, creative mind, and resourcefulness in bringing new thoughts and structures into reality. While Ptah's activities are viewed as agreeable and useful, like the hopeful vision of artists, Loki's mischievous nature adds a layer of intricacy and potential for disturbance chasing innovativeness.

The essential difference between the two legends lies in the idea of divinities and their imaginative articulations. Ptah is a worshipped and divine maker god, representing creative expression's productive and amicable parts. His imaginative undertakings are positive and life­ affirming, mirroring the Egyptian culture's accentuation on craftsmanship and the value of arts in molding the world (Ertman 84). On the other hand, Loki is a trickster god known for his flighty and unpredictable turbulent actions. While he shows innovative critical thinking and shape­ shifting capacities, his intentions are often driven by personal gain and mischief. This difference shows how the Artist archetype can appear differently, with Loki representing a more ethically ambiguous part of creativity.

One of the theories that account for the spread of myths is Jung's theory of archetypes. Jung's theory of archetypes contends that there are widespread, intrinsic, and shared themes and topics inside the human collective unconscious.  These models impact our contemplations, feelings, and social articulations, including myths. In the legends of Loki and Ptah, Jung's hypothesis proposes that specific original components inborn to the human mind add to the spread and reverberation of these accounts. On account of Loki, his trickster nature typifies the trickster and artist archetype, a widespread theme tracked down in many societies (Jung 67). This archetype addresses the wicked, problematic power that challenges norms and uncovers stowed away bits of insight. As myths containing trickster figures like Loki spread, they find resonance since they tap into a common human encounter of unpredictability and the need to address authority. For Ptah, his role as a maker divinity lines up with the artist archetype, which exists in different legends worldwide. This model addresses the human yearning for figuring out the origin of existence.  Ptah's  myth's  probably  spread  because  of  their  capacity  to  fulfill  this widespread interest, resonating across societies by resolving major inquiries concerning creation, purpose and the divine.

The myth of Loki holds extraordinary importance in Norse culture. Loki, the trickster god, epitomizes the artist archetype through his shrewdness and shape-shifting capacities. His myths effectively make sense of the erratic and tumultuous parts of nature and human way of behaving. For instance, Loki's role in the demise of Baldr exhibits his creative control of occasions, causing misfortune and featuring the double idea of creativity. Similarly, in Egyptian culture, the legend of Ptah conveys importance as the maker god, mirroring the artist archetype by creating the world and language. Ptah's role in the creation of the universe and his association with imaginative undertakings like engineering and craftsmanship line up with the Egyptian perspective, underlining the significance of imaginative abilities  in  their  general  public. Moreover, these myths serve different functions in the general public (Boschetti et al. 79). Metaphysically, the Loki legend mirrors the eccentric idea of presence, demonstrating the way that innovativeness can prompt both useful and horrendous results. Cosmologically, Loki's activities add to the recurrent idea of life and demise, building up the equilibrium of the universe. On the other hand, Ptah's myth serves metaphysical functions by making sense of the origin of creation and the interconnectedness of the universe through imaginative articulation. Cosmologically, Ptah's act of creating the world addresses the arranged construction of the universe.

The evolution of these two myths also holds a significant role in the contemporary culture and media. For instance, the evolution of Loki legend finds resonance in contemporary culture and media. His archetype keeps on being investigated in writing, film, and TY, frequently depicting complex characters with a mix of imagination and unpredictability. For instance, in the Marvel Cinematic Universe, Loki encapsulates the trickster artist model, evolving his personality while holding his center characteristics. Moreover, Ptah's archetype is reflected in current media, with accounts of makers molding universes through innovation, craftsmanship, or creative imagination. These cutting-edge transformations associate with the persevering through human interest with creation and the job of imaginative development in forming our reality.

In modem media, the reverberations of Loki's model resound through characters like the Joker from the Batman series. Similar as Loki, the Joker epitomizes the trickster artist model by undermining cultural norms through shrewd mayhem. With his capricious nature, twisted sense of humor and inclination for inventive rebellion, the Joker challenges the laid-out order, repeating Loki's propensity to upset the state of affairs. Just like Loki's activities can prompt both disarray and disclosure, the Joker's acts frequently uncover the hazier underside of society, filling in as a mirror to its intricacies (Boschetti et al. 77). On the other hand, Ptah's impact can be seen in motion pictures, for example, "inception," where characters control reality through imaginative engineering of the brain. This depiction reflects Ptah's role as the innovative god who molded the world through his craftsmanship. In this film, the characters utilize their creative ability to build and control dreamscapes, bending reality to their will. This lines up with Ptah's archetype as the divine artisan who created the world as well as the very language through which the truth is verbalized. Therefore, the equals between these legends and modem media highlight the enduring relevance of the Artist archetype in forming stories that resonate with contemporary audience.

Moreover, the artist archetype holds a significant effect on contemporary culture by reshaping how society sees innovative people. This impact is especially apparent in the depiction of  characters who typify the complicated  and multi-layered  characteristics  related with Loki's archetype (Boschetti et al. 76). Traditionally, legends were much of the time portrayed as ethically upright and faithful in their quest for good. However, characters influenced by the artist archetype, such as the trickster figure Loki, challenge these customary standards. These characters frequently obscure the lines between good and bad, provoking the audience to reconsider how they might interpret heroism and morality. Therefore, by embracing creativity, unpredictability, and an eagerness to disturb laid out standards, these characters off er a more nuanced and reasonable depiction of human instinct.

Furthermore, the effect of the artist archetype stretches out to the portrayal of women in contemporary media. For instance, the archetype of Freyja, a strong and multi-layered Norse goddess related with creativity, sexuality, and leadership, fills in as a motivation for the portrayal of solid and empowered female characters. These characters oppose conventional gender roles and off er stories where women employ innovativeness and agency to shape their own predeterminations. The depiction of female characters who typify the artist archetype challenges obsolete generalizations and adds to the continuous advancement towards a more diverse  and authentic portrayals of women in media (Boschetti et al. 76). Additionally, the Loki archetype flourishes in characters like the Doctor from "doctor Who," who exemplifies unconventionality and change. Ptah's model is obvious in characters like Tony Stark from the Marvel Universe, whose imaginative virtuoso shapes the world through mechanical development. These contemporary variants exhibit the timeless allure of the artist archetype, mirroring the continuous exploration of creative power and its effect on social orders and people.

Works Cited

• Jung, Carl Gustav. The archetypes and the collective unconscious. Routledge, 2014.
• Lindow, John. Norse mythology: A guide to god s, heroes, rituals, and beliefs. Oxford University Press, 2002.
• Thibeault, Catherine, and Brenda M. Sabo. "Art, archetypes, and alchemy: Images of self ­ following treatment for breast cancer." European Journal of Oncology Nursing 16.2 (2012):  153-157.
• Ertman, Earl L. "The earliest known three-dimensional representation of the god Ptah." Journal of Near Eastern Studies 31.2 (1972): 83-86.
• Boschetti, Fabio, Jennifer Price, and Iain Walker. "Myths of the future and scenario archetypes." Technological Forecasting and Social Change 111 (2016): 76-85.