Journal articles: 'Jung's archetypes'

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Mills, Jon. "Jung's metaphysics." International Journal of Jungian Studies 5, no. 1 (February 1, 2013): 19–43. http://dx.doi.org/10.1080/19409052.2012.671182.

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Despite it being the focal point of his theoretical system, I argue that Jung's notion of the archetypes is one of his least understood concepts because it was nebulous to Jung himself. Jung vacillated between viewing archetypes as analogous to primordial images and ideas inherited from our ancestral past, formal a priori categories of mind, cosmic projections, emotional and valuational agencies, and numinous mystical experience, but the question remains whether a ‘suprapersonal’ or ‘transubjective’ psyche exists. In what follows, I will be preoccupied with tracing the theoretical development of Jung's thesis on the collective unconscious, with a special emphasis on the archetypes, and hence pointing out the metaphysical implications of his thought. It is not possible to critique his entire body of work in the context of this abbreviated article; therefore, the reader should be aware that I am limiting myself to a narrow scope of interest in explicating and analyzing the philosophical viability of his major concepts. The greater question is whether the archetypes adequately answer to the question of origins, of an omnipresent and eternal dimension to the nature and structure of psychic reality.

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Nash, Ronald J. "Archetypal Landscapes and the Interpretation of Meaning." Cambridge Archaeological Journal 7, no. 1 (April 1997): 57–69. http://dx.doi.org/10.1017/s0959774300001475.

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Carl Jung's analytic ideas on archetypes offer an approach to interpreting ancient meanings in the absence of historic records. The archetypes of the collective unconscious are said to maintain a uniformitarian consistency over time in form and meaning. Their recurrent expression in the vernacular arts, dreams, even film of recent times permits exploration of these same archetypes in ancient contexts. The theory is discussed and applied to three landscapes, archetypal landscapes of glacial wasteland, primordial sea and forest labyrinth.

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Neher, Andrew. "Jung'S Theory of Archetypes: A Critique." Journal of Humanistic Psychology 36, no. 2 (April 1996): 61–91. http://dx.doi.org/10.1177/00221678960362008.

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Mills, Jon. "Jung as philosopher: archetypes, the psychoid factor, and the question of the supernatural." International Journal of Jungian Studies 6, no. 3 (September 2, 2014): 227–42. http://dx.doi.org/10.1080/19409052.2014.921226.

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In a previous essay offering an exegesis of Jung's metaphysics, I concluded that his position on the archetypes emphasizes basic constitutional patterns that manifest as imago, thought, affect, fantasy, and behavior inherent in all forms of human psychic life (bios) that are genetically transmitted yet realized on different stratifications of psychical order, including mystical properties emanating from supernatural origins. Mark Saban and Robert Segal provide thoughtful critiques of my work that challenge my basic premises. Saban represents a particular Jungian camp conforming to empirical apologetics, while Segal is more critical of Jung's philosophical ideas. The two main themes that emerge from their criticism are that I fail to show that Jung is a metaphysician, and that the archetypes are not supernatural phenomena. Here I will be concerned with recapitulating Jung's metaphysical postulations about the world and psyche and address more specifically the question of his commitment to supernaturalism.

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Imran, Muhammad, Adil Khan, and Nazakat. "Integration of the Self: A Jungian Study of Mystical Experiences in Herman Hesse's Siddhartha." Global Political Review IV, no. I (March 30, 2019): 71–82. http://dx.doi.org/10.31703/gpr.2019(iv-i).08.

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This paper aims at juxtaposing the Buddhist notion of enlightenment with the Jungian concept of individuation. It attempts to explore how the dissolving of ego and approaching the subliminal consciousness in the path of self-realization stand parallel to Jung's idea of dismantling one's persona and connecting with the self, respectively. Siddhartha's journey towards enlightenment offers a psychological reading through which an interplay between ego-consciousness and the collective unconscious could be studied. Archetypal method of analysis is applied to Herman Hesse's novel Siddhartha to analyze the protagonist's psychological journey with regard to different archetypes of individuation. The study draws on Carl Gustav Jung's theory of individuation which is employed as a theoretical framework to see how the protagonist makes his unconscious conscious. Study reveals that 'Siddhartha attains psychological wholeness, transcends beyond archetypal existence and becomes his own person. His striving for meaning is very much in line with the Jungian notion of individuation.

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Segal, Robert A. "On Mills' ‘Jung's Metaphysics’." International Journal of Jungian Studies 6, no. 3 (September 2, 2014): 217–26. http://dx.doi.org/10.1080/19409052.2014.921225.

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Despite his patient attempt to reconstruct Jung's metaphysics, Jon Mills fails to show that Jung was a metaphysician or even a philosopher of science and perhaps even a scientist. Mills seems to equate metaphysics with the postulation of immaterial entities – notably, archetypes. But on the one hand metaphysics can be materialist as well as dualist. On the other hand it is a speculative enterprise. A metaphysician would not simply announce the existence of immateriality but would seek to prove that immateriality fits the nature of reality as already known. Jung's metaphysics, which for him means sheer pronouncements, constitutes neither psychologism nor idealism, as Mills seems to agree. But Jung is not a Kantian, either. Jung should be treated as a great psychologist, but not as a thinker.

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Schotanus, Patrick. "Price discovery by the market's mind: an investor's perspective on numerical archetypes." International Journal of Jungian Studies 5, no. 2 (June 1, 2013): 140–53. http://dx.doi.org/10.1080/19409052.2012.679745.

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The aim of this paper is to contribute to Jung's later work, with a particular focus on the numerical archetypes viewed from an investor's perspective. It attempts to achieve this via a three-pronged approach. First, placing complex psychology in the framework of complexity theory allows a robust acknowledgement and treatment of ‘elusive’ macroscopic properties, i.e. archetypal dynamics, involved in the ordering of a mind as a complex adaptive system. Second, modern insights in number sense (the direct intuition of what numbers mean) provide neuroscientific support for numerical archetypes and clarify their primacy. Third, this paper points to the empirical relevance of numerical archetypes in price discovery, the self-organizing principle of the capital markets (which allocate resources in modern society). The resulting proposition is that the (collective) mind's unconscious and conscious forces can be considered as ‘intelligent’ agents. The competition between these two domains provides the necessary condition to endogenously generate innovative outcomes, the essential capability of complex adaptive systems. According to this view producing such adaptive novelty is achieved in the form of intuitive insights and imagination, which result in a vast array of symbols, e.g. prices in the case of the market's mind.

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Jaiswal, Deepali. "A Psychoanalysis of Female Characters in the Novels Heat and Dust and Inside the Haveli : Function of Mother Archetype in the Characters of the Narrator and Geeta." SMART MOVES JOURNAL IJELLH 9, no. 2 (February 27, 2021): 72–81. http://dx.doi.org/10.24113/ijellh.v9i2.10907.

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The psychoanalysts enhance our understanding of our consciousness, the self and self-identity. Psychoanalytic theory plays an important role in the comprehension of the fundamental condition of selfhood. The self is not an unified entity in psychoanalytical terms. Human subject emerges as an outcrop of the unconscious desire. After Sigmund Freud, Carl Jung, a swiss psychologist is considered as an eminent contributor to psychoanalysis who theorized the concept of collective unconscious. The purpose of my study is to find out the presence of the collective unconscious and to analyse two female characters, The Narrator , from the novel Heat and Dust and Geeta from Inside the Haveli with the help of Jung's theory of collective unconscious and mother archetype. In this research paper several theoretical concepts of Carl Jung are used to analyse the female characters. Jung’s theories are applied during the analysis process such as personal conscious, collective conscious and archetypes. I would use qualitative method for the analysis of the characters of the Narrator and Geeta. I would use important dialogues and incidents for the data collection for the analysis of the characters. The psychoanalytic study of the Narrator and Geeta shows that they both have collective unconscious. I would study the function of mother archetype in the life of the Narrator and Geeta

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Percival, R. S. "Is Jung's theory of archetypes compatible with neo-Darwinism and sociobiology?" Journal of Social and Evolutionary Systems 16, no. 4 (January 1993): 459–87. http://dx.doi.org/10.1016/1061-7361(93)90018-m.

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김충섭 and Joonsung Yoon. "Carl Jung's Archetypes theory and the collapse of the Aura - The introverted view of the Oriental Cultural Archetypes-." Korean Journal of Art and Media 12, no. 1 (February 2013): 19–27. http://dx.doi.org/10.36726/cammp.2013.12.1.19.

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Tanrıverdi, Belgin, Yıldız Öztan Ulusoy, and Hülya Çevirme. "Attitude of pre-service teachers through punishment within jung's theory of archetypes." Procedia - Social and Behavioral Sciences 1, no. 1 (2009): 1617–23. http://dx.doi.org/10.1016/j.sbspro.2009.01.284.

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Gibson, Leonard. "Whitehead and Grof: Resolving the Ontological Ambiguity of Jung's Archetypes Metaphysically and Practically." Tattva - Journal of Philosophy 2, no. 1 (August 14, 2009): 91–97. http://dx.doi.org/10.12726/tjp.3.6.

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Walters, Sally. "Algorithms and archetypes: Evolutionary psychology and Carl Jung's theory of the collective unconscious." Journal of Social and Evolutionary Systems 17, no. 3 (January 1994): 287–306. http://dx.doi.org/10.1016/1061-7361(94)90013-2.

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Bakhshayesh, Elnaz Valaei, and Seyed Reza Ebrahimi. "THE QUEST FOR INDIVIDUALITY IN FARIBA VAFI’S MY BIRD." vol 5 issue 15 5, no. 15 (December 29, 2019): 1511–16. http://dx.doi.org/10.18769/ijasos.592125.

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One of the common themes in contemporary Persian literature in Iran is the psychological development of women and their challenges to find their path towards individuality. By applying Jungian “process of individuation,” Fariba Vafi’s novel My bird is analyzed to uncover the self- development of the female character. The motion of self-archetype is studied in relation to Jung’s theory of individuality to study how the female protagonist experiences this process of personality development. The motif of re-birth emerges at the end of the novel when the female heroine reaches a level of recognition of the changes occurring within her. Other archetypal motifs that appear in the novel are the house archetype, the shadow archetype, and the individuation archetype which are discussed as they are the main structuring elements in the formation of the theme of the novel. This research aims to study how the psychological development of the female protagonist, based on Jung’s archetypal theories, occurs. Keywords: Jung’s archetypes, shadow archetype, house archetype, individuation archetype.

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Sidik, Umar. "ARKETIPE INISIASI DALAM CERITA ANAK PADA ANTOLOGI GURUKU IDOLAKU DAN PEMANFAATANNYA DALAM PENDIDIKAN KARAKTER ANAK." Widyaparwa 46, no. 1 (September 14, 2018): 1–16. http://dx.doi.org/10.26499/wdprw.v46i1.160.

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This study answers two questions, namely (1) what situation and condition that arise archetype initiation; and (2) how is the implication of archetype initiation in child character education.The research approach is the archetype of initiation (psychoanalysis) referring to Carl G. Jung's theory. The data sourche is chosen using purposive sampling technique. The result shows that archetypes of initiation occured by "confronting" a problem with certain situation and condition that can touch character’s psychic. However, some other stories are done by direct conditioning of the character, namely by giving an acceptable advice for the characters. The archetype initiation of stories can be an inseparable part of character building for their readers (children).In addition, the story type can provide inspiration for parents and / or teachers in the process of child character education.Penelitian ini menjawab dua pertanyaan, yaitu (1) situasi dan kondisi seperti apa sehingga memunculkan arketipe inisiasi; dan (2) bagaimanakah pemanfaatan arketipe inisiasi dalam pendidikan karakter anak. Pendekatan yang digunakan ialah arketipe inisiasi (psikoanalisis) mengacu pada teorinya Carl G. Jung. Penentuan sumber data dilakukan dengan teknik pur- posive sampling. Hasil penelitian menunjukkan bahwa arketipe inisiasi terjadi dengan cara “membenturkan” persoalan dengan situasi dan kondisi tertentu yang dapat menyentuh ke- jiwaan tokoh. Akan tetapi, sebagian cerita yang lain dilakukan dengan cara pengondisian secara langsung terhadap tokoh, yakni dengan cara memberikan nasihat yang dapat diterima oleh tokoh. Cerita berarketipe inisiasi dapat menjadi bagian yang tidak terpisahkan dalam pembentukan karakter bagi pembacanya (anak). Selain itu, cerita tipe itu dapat memberikan inspirasi bagi orang tua dan/atau guru dalam proses pendidikan karakter bagi anak.

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Krafte, Diana, Viesturs Lāriņš, and Andra Fernāte. "THE STYLES OF SPECIAL ARTISTRY IN RHYTHMIC GYMNASTICS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 379–91. http://dx.doi.org/10.17770/sie2021vol4.6303.

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Rhythmic gymnastics is a high achievement sport that requires athletes to demonstrate maximal abilities of the human body control while performing imaginative and meaningful compositions. With increasing of the technical complexity of the competitive compositions and striving for high results, less attention is paid to performance aesthetics. But at the same technical level during the competition, a decisive role in the gymnasts' performance is given to aesthetics. Patterns in the choice of composition content and gymnasts’ appearance and emotional similarities during performance allow concluding that there is a certain style, which can be defined as a special artistry style in rhythmic gymnastics. The aim of the research is to develop theoretical model of special artistry in rhythmic gymnastics, setting the tasks to determine, classify, structure, describe with determined artistic criteria and visualize with artistical images the special artistry styles. To develop the model the method of scientific and special literature analysis, audiovisual source analysis and modeling method were used. The model is mainly relying on C.G. Jung's theory of human perception of the world through universal symbols and the primary archetypes of the collective unconscious. Since mainly women participate in rhythmic gymnastics, the determination of the special artistry styles was based on the women archetypes of Ancient Greece goddesses according to the psychoanalyst prof. J.S. Bolen. To illustrate the styles more than 400 audiovisual materials were researched. As a result, the theoretical special artistry 32–style model in rhythmic gymnastics with two matrices of opposite style expressions consisting of 16 images each was created.

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Palmer, Anthony. "Music as an Archetype in the 'Collective Unconscious'." Dialogue and Universalism 7, no. 3 (1997): 187–200. http://dx.doi.org/10.5840/du199773/419.

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The making of music has been sufficiently deep and widespread diachronically and geographically to suggest a genetic imperative. C.G. Jung's 'Collective Unconscious' and the accompanying archetypes suggest that music is a psychic necessity because it is part of the brain structure. Therefore, the present view of aesthetics may need drastic revision, particularly on views of music as pleasure, ideas of disinterest, differences between so-called high and low art, cultural identity, cultural conditioning, and art-for-art's sake.All cultures, past and present, show evidence of music making. Music qua music has been a part of human expression for at least some forty-thousand years (Chailley 1964; viii) and it could well be speculated that the making of music (the voluntary effort to use tonal-temporal patterns in consistent form that are meant to express meaning) accompanied the arrival of the first human beings. As Curt Sachs states, "However far back we tracemankind, we fail to see the springing-up of music. Even the most primitive tribes are musically beyond the first attempts" (Sachs 1943; 20).Why do humans continuahy create music and include it as an integral part of culture? What is music's driving force? Why do cultures endow music with extraordinary powers? Why do human beings, individuahy and as societies, exercise preferences for specific works and genres of music? In probing these questions, I chose one aspect of Jungian psychology, that of the Collective Unconscious with its accompanying archetypes, as the basis upon which to speculate a world aesthetics of music. Once we dispense with the mechanistic and designer idea of human origins (Omstein 1991; Ch. 2), we have only the investigations of the human psyche to mine for data that could explain the myriad forms of artistic activity found the world over. An examination of human beings, I believe, must lead one ultimately to the study of human behavior and motivations, in short, to the psychology of human ethos (see, e.g., Campbell 1949 & 1976). This study wih take the following course: first, a discussion of consciousness and the Collective Unconscious, plus a discussion of archetypes; then, a description of musical archetypal substance; and finally, what I beheve is implied to form a world aesthetics of music.By comparison to Jung, Freud gives us little in the way of understanding artistic substance because for him, all artistic subject matter stems purely from the personal experiences of the artist. In comparing Freud and Jung, Stephen Larsen states that "Where Freud was deterministic, Jung was teleological; where Freud was historical, Jung was mythological" (Larsen 1992; 19). Jung drew on a much wider cross-cultural experiential and intellectual base than Freud (Philipson 1963; Part II, Sect. 1). His interests in so-cahed primitive peoples led him to Tunis, the Saharan Desert, sub-Saharan Africa, and New Mexico in the United States to visit the Pueblo Indians; visits to India and Ceylon and studies of Chinese culture all contributed to his vast knowledge of human experience. Jung constructed the cohective unconscious as a major part of the psyche with the deepest sense of tradition and myth from around the world. He was criticized because of his interests in alchemy, astrology, divination, telepathy and clairvoyance, yoga, spiritualism, mediums and seances, fortunetelling, flying saucers, religious symbolism, visions, and dreams. But he approached these subjects as a scientist, investigating the human psyche and what these subjects revealed about mental process, particularly what might be learned about the collective unconsciousness (Hall and Nordby 1973; 25 & Cohen 1975; Ch. 4). Jung's ideation, in my view, is sufficiently comprehensive to support the probe of a world aesthetics of music.

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Sveshnikov, Alexander Vyacheslavovich. "C.G. Jung on the Nature of Artistic Image." Journal of Flm Arts and Film Studies 5, no. 4 (December 15, 2013): 66–77. http://dx.doi.org/10.17816/vgik5466-77.

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The article analyses C. Jung’s approaches to the problem of the symbol and the archetype, reviews the relationship between the compositional integrity of an artwork and an archetypal image as the two phenomena firmly rooted in the depths of the unconscious mental processes.

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Błocian, Ilona. "Archetype and matrix image (potential forms of an image)." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 37, no. 1 (2021): 154–61. http://dx.doi.org/10.21638/spbu17.2021.112.

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The article is devoted to the analysis of potential forms of the image in culture and the development of the Jungian concept of an archetype in Wunenburger, Bachelard, Durand and modern cultural studies. The notion of archetype in Carl Jung’s concept is related to the distinction between the archetype in itself, noumenon and archetype image conceived as a phenomenal manifestation of archetypal forms in the space-time, historical and social reality. This distinction has a Kantian lineage, which Jung was clearly conscious of. He provides a reference to the conception of Kant, calling it “a school of philosophical criticism” several times in his writings. In the studies of Jung’s concept, his approach to transcendentalism (Z. Rosińska) is at times present, and a certain type of its specific, evolutionary interpretation is used. The archetype, being a “thing in itself ”, determines the appearance of phenomenal forms in the space-time, historical and social world, while remaining outside the direct entanglement and referring to the evolutionally active sphere of the unconscious as an anthropological datum. The archetypal image expresses the permanent approximation of manifestation of the semantic core of the archetype itself. The notion of an archetype has evolved in contemporary understandings and conceptions; it was conceived as a psychological expression of the evolutionary pattern of behavior, as an affective-representative node and ante rem of an idea, as a hermeneutic pattern of meaning or as a kind of matrix image. The archetype can be understood in connection with anthropological structures or with a cultural image; one way of comprehension does not exclude the other.

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Afsari, Nasim, and Elham Omrani. "Demon Lovers versus Damsels in Distress: An Archetypal Reading of Robert Browning’s My Last Duchess and Porphyria’s Lover." International Letters of Social and Humanistic Sciences 64 (November 2015): 10–16. http://dx.doi.org/10.18052/www.scipress.com/ilshs.64.10.

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Each literary work has a world of its own and discovering this world may seem undemanding and straightforward. By contrast, the realm of a literary work might be loaded with hints for a reader who has established a harmonious relationship with that world. The world depicted by the work may well encourage this reader to pass from the surface meaning toward the heart of the idea. This paper tries to reveal the secondary layer of meaning in two poems by Robert Browning, My Last Duchess and Porphyria’s Lover, by focusing on the archetypal elements implemented in them. The recent study explores the archetypal characters playing their roles in the poem by focusing on old archetypes such as the Soul Mate, Damsel in Distress, Innocent youth and Demon Lover. Then it elaborates on the archetypal motifs or patterns such as immortality and scapegoat. Furthermore, the last part of discussion elaborates on Jung’s principal archetypes (shadow, persona, and anima) and his theory of individuation.

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Mills, Jon. "The Essence of Archetypes." International Journal of Jungian Studies 10, no. 3 (February 8, 2018): 199–220. http://dx.doi.org/10.1080/19409052.2018.1503808.

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Jung’s notion of the archetype remains an equivocal concept, so much so that Jungians and post-Jungians have failed to agree on its essential nature. In this essay, I wish to argue that an archetype may be understood as an unconscious schema that is self-constitutive and emerges into consciousness from its own a priori ground, hence an autonomous self-determinative act derived from archaic ontology. After offering an analysis of the archetype debate, I set out to philosophically investigate the essence of an archetype by examining its origins and dialectical reflections as a process system arising from its own autochthonous parameters. I offer a descriptive explication of the inner constitution and birth of an archetype based on internal rupture and the desire to project its universality, form, and patternings into psychic reality as self-instantiating replicators. Archetypal content is the appearance of essence as the products of self-manifestation, for an archetype must appear in order to be made actual. Here we must seriously question that, in the beginning, if an archetype is self-constituted and self-generative, the notion and validity of a collective unconscious becomes rather dubious, if not superfluous. I conclude by sketching out an archetypal theory of alterity based on dialectical logic.

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Habeebul, Rahman. "The crisis “Archetypogram” – of prisoners, soldiers, sages and jesters." Asia Pacific Scholar 6, no. 3 (July 13, 2021): 83–86. http://dx.doi.org/10.29060/taps.2021-6-3/sc2390.

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Introduction: Archetypes in psychology are complete models of behaviours, thoughts and feelings, representative of universal experiences. From Plato’s description of Forms to Jung’s analytical introduction to archetypes in psychology, to common use of Moore’s masculine archetypes in popular culture, we use such “complete representations” to enable change. Methods: In examining psychologically driven responses to the recent and ongoing pandemic crisis, the use of a graphic representation of interacting archetypes is proposed—the ‘archetypogram’. Results: Drawing on concepts from psychodynamic therapy practise, including Transactional Analysis and Jungian theory, four main archetypes are proposed for their interdependence—the prisoner, the soldier, the sage and the jester/trickster, and a model describing their interactions is presented with the intention of enabling helpful behaviours in response to crisis. The model further proposes positive and negative positions within each archetype, labelled as ‘creating’ and ‘consuming’ behaviours respectively. The ‘archetypogram’ thus is a visual representation of three main components - the four archetypes, creating vs consuming behaviours, and movement between the various positions. Use of the ‘archetypogram’ is aimed at enabling individuals in crisis to move from consuming to creating behaviours. Conclusion: The ‘archetypogram’ is a model of change which may be applied to persons distressed in crisis, and is able to move behaviours towards positive and creating self-states.

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Fike, Matthew A. "C. G. Jung on plagiarism in Pierre Benoît’s L’Atlantide." International Journal of Jungian Studies 9, no. 3 (September 2, 2017): 167–82. http://dx.doi.org/10.1080/19409052.2017.1355331.

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ABSTRACTJung explained the possible plagiaristic relationship between Henry Rider Haggard’sSheand Pierre Benoît’sL’Atlantideas either cryptomnesia or archetypal inspiration, but he was misinformed about the case and unfamiliar with Benoît’s life. This essay critiques Jung’s statements about Benoît and then considers the case for plagiarism that was published inThe French Quarterlyin 1919–1920. Neither the typical reply – thatL’Atlantidereflects the author’s African experience and historical knowledge – nor the reading of the novel that arose from Jung’s 1925 seminar adequately refutes the plagiarism charge. A depth-psychological reading ofL’Atlantideshows the danger of seeking the anima archetype itself rather than experiencing the anima in a relationship with an available woman. But even if literary analogies, including the Circe myth, suggest that Haggard and Benoît may have tapped into the same archetypal vein, the novels’ similarities and verbal echoes cannot be dismissed outright.

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Sarieddine, Maysar. "Women, Violence, and Jung’s Archetypes." Studies in Asian Social Science 5, no. 1 (January 20, 2018): 14. http://dx.doi.org/10.5430/sass.v5n1p14.

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Jung’s concept of the shadow will be applied to cases of violence against women in the regional context of theMiddle East. This paper will present an explanation of the reasons why Middle Eastern women are often subject togender inequality and violence against women. In order to do so, Jung’s conception of archetypes will be applied tothe specific cultural context of the Middle East.Objective: To further understanding of gender inequality in the Middle East.Methods: Phenomenology/Analytic PsychologyResults: Liberation from violence from men is the women’s shadow since this is a desire which they deny orconsciously ignore primarily because it is in contrast with societal and cultural norms that teach them to besubmissive and inferior to males.Conclusions: Women should identify, understand, and reveal this shadow. Once revealed, women will realize theirrights, particularly to be free from acts of discrimination and violence, and can begin to fight for these rights and forempowerment.

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Raof, Solmaz, and Javad Neyestani. "Horse Archetype and Its Relationship with Hero Patterns on Luster Pottery in the Seljuk." Archaeology and Culture 1, no. 1 (August 13, 2018): 1. http://dx.doi.org/10.22158/ac.v1n1p1.

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<p><em>Horse with the hero archetype are the most common mythological motif. In Jung’s opinion, archetypes are collective unconscious contents which potentially exist in the human’s mind; therefore, myth is not limited to the time and space. The pattern of horse and horseman was used on pottery and in wall paintings, paintings and drawings throughout the history. This kind of pattern is observed frequently on different artworks of the Seljuk Period (Eleventh and twelfth centuries AD). During the 10th century, due to various events, the Oghuz had come into close contact with Muslim cities. Seljuk Turks had a strong interaction with the nature. They fought with their neighbors to find suitable permanent pastures; so, war and hunting were their favorite works and subjects. One of the artworks on which these patterns were frequently used was golden shades and enamel pottery in the Seljuk Period. Pottery in this period is important in terms of its qualitative and quantitative value. In this article, first we address Jung’s opinions about the hero and horse pattern as an archetype; then, by introducing some samples of golden shades pottery with the pattern of horse and horseman, we will discuss the concept which the Seljuk society had understood.</em></p>

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Zwart, H. A. E. (Hub). "Archetypes of Knowledge." International Journal of Jungian Studies 12, no. 2 (June 10, 2019): 159–79. http://dx.doi.org/10.1163/19409060-01102005.

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Abstract This paper substantiates why Jung’s psychology is still highly relevant for understanding science today. I explore how his methods and insights allow us to come to terms with the phenomenon of scientific discovery. After outlining core Jungian concepts and insights concerning science, I will focus on the relationship between alchemy and modern science. Also, I will highlight Jung’s understanding of scientific research as a practice of the self, directed at individuation (the integration of various aspects of the self into a coherent whole). Finally, I discuss the role of archetypes in the context of discovery of modern science. Whereas archetypal ideas may function as sources of insight and inspiration, the task for researchers is to come to terms with them, instead of being overwhelmed by them. Besides case studies discussed by Jung himself, I also present more recent examples, taken from molecular life sciences research and climate change research.

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Bishop, Paul. "Jung looking at the stars: chaos, cosmos and archetype." International Journal of Jungian Studies 1, no. 1 (March 1, 2009): 12–24. http://dx.doi.org/10.1080/19409050802681884.

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Taking as its starting-point an aphorism in The gay science, this paper examines Nietzsche's distinction between the (chaotic) ‘total character of the world’ and the (cosmic) ‘astral order in which we live’. It relates this distinction, not only to Nietzsche's earlier claim in The birth of tragedy that ‘it is only as an aesthetic phenomenon that existence and the world are eternally justified’, but also, via Goethe's Wilhelm Meister, to Jung's concept of archetypal structures. Finally, it examines the case of one of Jung's patients, a young labourer suffering from schizophrenia; Jung's interest in Hölderlin; and his discussion of the Stoic concept of heimarmene.

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Khair, Rahimal. "Arketipe Ketaksadaran Tokoh Faris dan Inayah dalam Novel Lail wa Qudbhan Karya Najib Al-Kailani." Arabiyatuna : Jurnal Bahasa Arab 4, no. 1 (May 8, 2020): 49. http://dx.doi.org/10.29240/jba.v4i1.1359.

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This research aims to describe the psychological conflict that can impact the changes of Faris and Inayah attitudes when acting on novel Lail wa Qudbhan by Najib al-Kailani. The approach of this research is the psychology of literature that discusses of the psychology aspects of figures in the work or is called the textual approach. The theory used to study the psychology of figures in this research is Carl Gustav Jung’s psychology theory and focused on the archetypes of the character’s unconsciousness. The research method used is a qualitative method, documentation technic with descriptive analysis of data analysis. There is also the result of this study found that the cause of the change in attitude of Faris and Inayah figures is their unconscious archetype. Faris’s archetype consists of a persona obstinacy, a shadow of killing and copulation, his anima is uncontrolled emotional, a great mother who brings destruction, wise old man who advise and teach patience, and Self want freedom of life and happiness. While Inayah’s archetype consists of a persona of a happy wife, a shadow of murder an indidelity, an animus of rational and stubborn thinking, a great mother who loves, wise old man who teaches patience, and Self want freedom and happiness.

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Mayer, Claude-Hélène, Nataliya Krasovska, and Paul J. P. Fouché. "The meaning of life and death in the eyes of Frankl: Archetypal and terror management perspectives." Europe’s Journal of Psychology 17, no. 3 (August 31, 2021): 164–75. http://dx.doi.org/10.5964/ejop.4689.

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This article aims to uncover the meaning of life and death across the lifespan of the extraordinary person, Viktor E. Frankl (1905–1997). Frankl was purposively sampled due to his international acclaim as an Austrian neurologist and psychiatrist, who later became famous as a holocaust survivor and the founder of logotherapy. Through his approach of “healing through meaning,” he became the founder of the meaning-centred school of psychotherapy and published many books on existential and humanistic psychology. The study describes the meaning of life and death through two theoretical approaches: the archetypal analysis based on C.G. Jung’s and C.S. Pearson’s work and a terror management approach based on the melancholic existentialist work of Ernest Becker. The methodology of psychobiography is used to conduct the psycho-historical analysis of the interplay of archetypes and death annihilation anxiety throughout Frankl’s lifespan. The article evaluates how archetypes and death anxiety interacts and how they built meaning in different stages of Frankl’s lifespan. The theories are discussed and illustrated in the light of Viktor E. Frankl’s life.

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Zinoveva, Regina V. "Archetypical images of a child and a cultural hero in the playwrights of Edward Franklin Albee and Sławomir Mrożek in the light of the generational problem." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 122–28. http://dx.doi.org/10.34216/1998-0817-2021-27-1-122-128.

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The article examines the place of archetypal images of a child and a cultural hero in the ideological and imaginative system of theatre of the absurd of Edward Franklin Albee and Sławomir Mrożek. It is stated that in Albee’s dramas ("The Sandpbox", "The American Dream", "Who's Afraid of Virginia Woolf", "A Delicate Balance") and Mrożek’s dramas ("Tango", "A Happy Event", "Racket-Baby") the archetypal images of a divine and demonic ("unruly") child, outlined in Carl Gustav Jung's psychoanalytic philosophy, enter into ambivalent relations. The thanatological motifs which accompany this archetypal duality testify to the distorted image of the future in the consciousness of twentieth-century human, so that the image of a child in the drama of the absurd becomes a reflection of the general process of dehumanisation in modern society as well as in the family. The archetype of the cultural hero, according to the world mythological tradition, embodies the ideas of individuation and transformation of a child growing into adulthood. However, through the presentation of grotesque and parodic images of children and young men in the work of playwrights, the understanding of the child archetype as a potential cultural hero does not include the idea of civilisational progress as the "futureness" of the world, but rather reflects the eschatological scenario of the world history. The problem of family relations, which captures the generational conflict in its carnivalised version (the inverted relations between the "older" and the "younger"), is an indicator of the social absurdity represented in the plays. The comparative analysis of the plays in the light of the ambivalent archetype of "divine child" – "unruly child" contributes to the identification of national and socio-cultural specificity of the conflict of "fathers and sons". It is concluded that the collective experience of the generation to which Albee and Mrożek belonged to determines the pessimistic vision of the future by both playwrights.

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Robertson, Robin. "The evolution of jung's archetypal reality." Psychological Perspectives 41, no. 1 (January 2000): 66–80. http://dx.doi.org/10.1080/00332920008403393.

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Vrbata, Ales. "Image and imagery in imaginal psychology (mental image and theory of science)." Revista Ideação 1, no. 30 (April 18, 2018): 211. http://dx.doi.org/10.13102/ideac.v1i30.1328.

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This paper deals with theoretical concepts of image and imagery in foremost imaginal psychologists (James Hillman, Michael Vannoy Adams). Attributing primary epistemological status to image and imagery, archetypal/imaginal psychology school developed (both within philosophy and psychology) new theory of image and imagery, questioned older thesis about derivative and secondary epistemological status of image (image as imprint within human psyche, derivative of primary sensations). Using Jung’s concept of autonomous psyche of essentially archetypal nature, Hillman started to question Jung’s concept of “Self ” as the central archetype that — for him — symbolized sort of disguised traditional monotheism (Christian God, Jewish Yahweh etc.) similarly to Freud’s sexuality (id) or central cultural myth (Oedipus myth). Archetypal/imaginal psychology defends essential sovereignty and equality of all images (liberty to imagine considers as the first and the most important liberty of human being) and imagery and resultant polytheist psychology. Such direction that took place within Jungian Studies and give birth to imaginal psychology coincided with the development in different fields: in philosophy and theory of science. Derrida’s and Feyerabend’s rejection of ultimate referential frame is not identical with but parallels Hillman’s and Vannoy Adam’s discovery of fantasy rules of the psyche. This paper also discusses similarities and differences in Hillman and Feyerabend and their concepts of paradigmatical cultural shift from culture and science dominated by “monotheist psychology” to that dominated by “polytheist psychology” where all images are treated equally.

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Şirin, Turgay. "Parallelisms between Jungian Archetypes with Ibn ‘Arabi’s Concept of Ayani-Sabita." Spiritual Psychology and Counseling 4, no. 1 (February 15, 2019): 25–37. http://dx.doi.org/10.37898/spc.2019.4.1.0052.

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This study attempts to put forth the relationship between Carl Gustav Jung’s concept of the archetype and Muhyiddin Ibn ‘Arabi’s concept of Ayani-sabita. In this context, the nature of the concepts of Muhyiddin Ibn ‘Arabi’s Ayani-sabita and Jung’s concept of the archetype are examined, as well as the similarities and differences between each of the two concepts, by researching the issues of the relationship of these concepts with existence and humans. Attention is attempted to be drawn in the study’s results to the topics that the concept of Ayani-sabita, which is often unrecognized in the literature on psychology, can contribute to contemporary psychology, arriving at the conclusion that this concept may be one that can contribute to the science of psychology just as Jung’s archetype concept.

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Ramić, Jasmine. "Árboles : Teresa de la Parra, María Luisa Bombal y Elena Garro." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 48, no. 2 (December 5, 2013): 307–27. http://dx.doi.org/10.1075/rro.48.2.05ram.

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This article intends to apply Jung’s hypotheses of the collective unconscious and his conceptualization of the archetypes as a theoretical framework to analyze the notion of the feminine in the work of Teresa de la Parra and two additional short stories by María Luisa Bombal and Elena Garro, focusing particularly on the symbolism of the archetypal image of the tree. From a psychological point of view, the image of the tree in these works transforms the unconscious contents of the psyche that is profoundly and properly feminine in her quest to discover the essential female identity through her imaginary consciousness. This creative force (the creative power of the imagination) enables her to connect “intuitions” to “conscious life” and as a result configure her own subjectivity (the maturation of the ego, of the self-consciousness, or what in Jungian terms is known as the individuation process).

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Kline, Jim. "The feral boy: archetypal image of pathos in a dream series." International Journal of Jungian Studies 9, no. 3 (September 2, 2017): 137–47. http://dx.doi.org/10.1080/19409052.2017.1339624.

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ABSTRACTThe figure of a half-human, half-feline boy appearing in a dream series of a middle-aged businessman suffering from job burnout is investigated from a Jungian perspective, noting its relevance to Jung’s concept of eros as a relatedness principle as well as an example of the puer aeternus or eternal child archetype. Further investigation into the feral boy figure reveals its compensatory function: a reaction to the dreamer’s regression to a more primitive state of self-identity and forced alienation from his business profession and his private life. Additional references to the feral boy from the Mesoamerican Olmec civilization provide evidence of the figure’s identity as an archetypal image of pathos, arousing sympathetic pity that leads to reconnecting the dreamer with his societal and familial responsibilities.

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Zayed, Richard S., and Bertha Mook. "Jung's concept of the archetype: An existential phenomenological reflection." Humanistic Psychologist 27, no. 3 (1999): 343–68. http://dx.doi.org/10.1080/08873267.1999.9986914.

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Pietikainen, Petteri. "Jung's Psychology in the Light of his ‘Personal Myth’." Psychoanalysis and History 1, no. 2 (July 1999): 237–51. http://dx.doi.org/10.3366/pah.1999.1.2.237.

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The central argument of this paper is that Jung conceived his archetypal psychology as a locus of therapeutic deep-self narratives that in principle afford each and every one a chance to look for a satisfying personal myth that consoles us and gives meaning and depth to our lives as it imposes an archetypal pattern upon our historical existence which might otherwise seem intolerably defective and meaningless. In his memoirs he created a universal, ‘archetypal model’ of his own life, which he narrated as if it were a mythical story of a hero confronting the powerful forces of the Collective Unconscious in his search for the Holy Grail of psychic and spiritual renewal. Jung's depth-psychological mythification of man signified an escape from the pathogenicity of historical time to the timeless glamour of personal myth.

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方圓. "On the "archetype" of C.G. Jung’s "collective unconsciousness"." Humanities and Art ll, no. 2 (December 2015): 157–69. http://dx.doi.org/10.35442/hna.2015..2.157.

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Moreno, Antonio. "Jung’s Archetype of the Self and Nonreligious People." New Scholasticism 59, no. 4 (1985): 398–417. http://dx.doi.org/10.5840/newscholas19855942.

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Huang, Xueting. "An Analysis of Edgar Linton’s Psyche Based on Archetypes Theory." International Journal of Linguistics, Literature and Translation 4, no. 7 (July 30, 2021): 01–06. http://dx.doi.org/10.32996/ijllt.2021.4.7.1.

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Wuthering Heights is one of the most significant realistic novels in British literature, primarily depicting the tragic love story of Catherine and Heathcliff. Nevertheless, involved in the love triangle, Edgar Linton receives much less attention from the researchers. In an attempt to further unravel the characteristics of Edgar Linton, this paper, in conjunction with Carl Jung’s archetypes theory, interprets Edgar’s psyche by analyzing his persona, anima, and shadow through qualitative analysis. The result shows a strong relevance of these three archetypes that are closely related to his childhood experiences. The joint influence of the archetypes forms typical features of his psyche that affects not only him but also his social networks and his soft personality is a good approach to alleviating the heaviness of this work and forming a sharp contrast with Catherine and Heathcliff.

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Sirait, Desria Natalia, and Tomi Arianto. "Representation of Woman Existentialist Reflected from Archetypal Image Analysis in The Chrysanthemums Story." IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature 8, no. 2 (December 10, 2020): 519–34. http://dx.doi.org/10.24256/ideas.v8i2.1678.

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This study aims at analyzing the representation of women's existence through the archetypal image in the chrysanthemum story. This study uses Carl Jung's archetypal image theory which is supported by Simone de Beauvoir's theoretical concepts. This research is focused on analyzing archetypal image. This story is revealed by classifying symbol, persona, anima and animus archetypal, and self-archetypal. Meanwhile, further analysis of the archetypal symbol is then criticized using the concept of the woman existentialist Simone de Beauvoir. This study uses a qualitative research method in which all data sources are taken from the short story. The results showed that there are four symbols of archetypal, personal archetypal, opposing points of view of anima and animus archetypal, and how to control self-archetypal. From all of these classifications, it is concluded that the representation of an existentialist woman is reflected through the main character named Elisa, including daring to go against the rules, being able to make their own decisions and being a woman who can stand alone.

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Farahmandfar, Masoud, and Ghiasuddin Alizadeh. "The Shadow Archetype in Mahmud Dowlatabadi’s Novel Yusef’s Days and Nights." Anafora 8, no. 1 (2021): 149–61. http://dx.doi.org/10.29162/anafora.v8i1.8.

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The present article studies Mahmoud Dowlatabadi’s novel Yusef ’s Days and Nights and attempts to provide a different reading of the novel through the application of C. G. Jung’s theories on the collective unconscious and archetypes. From Jung’s perspective, the collective unconscious is the reservoir of psychic energy and the source of all human memories; also, the archetypes are universal mental structures the recognition of which becomes possible through the symbolic interpretation of dreams, fantasies, myths, and rituals. “Shadow” is one of the most important archetypes that, according to Jung, is the dark half of our being. This shadow is our alter-ego, and it is only when we accept it as a part of our being that we can achieve psychic equilibrium and complete the process of individuation. The process of individuation, and indeed of the conscious mind’s coming to terms with the ‘self,’ usually begins with suffering. Although this initial shock is not often recognized, it is a kind of summoning. However, Yusef (the protagonist of the novel) follows the path of denial and his projections of his fears and anxieties gradually make the distinction between illusion and reality difficult for him. Therefore, the confrontation with theshadow, although difficult and perhaps horrifying, is a necessary step on the road towards mental and psychical maturity.

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Woolfson, Tony. "The Book of Job revisited." International Journal of Jungian Studies 1, no. 2 (September 1, 2009): 123–43. http://dx.doi.org/10.1080/19409050903109330.

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A vicious trick is played on Biblical Job by Satan and the half-conscious God-image. He loses almost everything, but his conscious suffering places him on the archetypal and ultimately life-affirming journey of spiritual seekers – from ego to Self. In his Answer to Job, Jung takes momentous issue with the Old Testament God-image, a ‘monster’ in Jung's view. Archetypally, Job is not patient but heroic in his ability to hold the opposites simultaneously, the light and dark sides of the God-image. He experiences the everlasting truth of Jung's dictum: ‘one can love God, but must fear Him.’

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Leigh, David J. "Carl Jung’s Archetypal Psychology, Literature, and Ultimate Meaning." Ultimate Reality and Meaning 34, no. 1-2 (March 2011): 95–112. http://dx.doi.org/10.3138/uram.34.1-2.95.

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Mirskaya, Liudmila A., and Victor O. Pigulevskiy. "Archetypal analysis of “Cinderella”." SHS Web of Conferences 122 (2021): 06006. http://dx.doi.org/10.1051/shsconf/202112206006.

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Psychologists often use the name of the protagonist of the fairy tale “Cinderella”, which is famous thanks to the brothers Grimm and Charles Perrault, for a sacrificial girl prone to dissociation, illusions, and waiting for a prince. This is typical for psychoanalysis. However, such an idea of Cinderella’s character does not fully reflect the essence of the matter. Moreover, it is generally not true. From the perspective of C.G. Jung’s analytical psychology, Cinderella is not a victim or an infantile dreamer and is not a real girl at all. Any tale represents an archetypal process of individuation. This is a collective natural constant of the psyche that excludes individual problems. Cinderella cultivated in herself what the ancient Greeks called “paideia” – the integrity of the personality and inner strength, influence on others. The purpose of the article is to describe the process of Cinderella’s individualization from the position of C.G. Jung’s archetypal approach based on the amplification method. The most relevant sources of recent years on the archetypal analysis of fairy tales are the works by M.-L. von Franz, H. Dieckmann, and C.P. Estés. The novelty of the study consists in the description and analysis of the archetypal images of the collective unconscious, which underlie the process of Cinderella’s individuation and determine her life path. These archetypal images are Persona, Self, Shadow, Anima/Animus, and the symbolic levels of the individuation process can be represented by such alchemical terms as “separation”, “multiplication”, “calcination”, “initiation”, “transformation”, “conjunction”, “solidification”. The levels testify to the character’s inner transformation and, as a result, lead to a happy woman’s destiny. The result of understanding the deep essence of the tale is a psychologist’s analytical work with modern young women, which will lead to positive changes in thinking and behavior.

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Douglas, Claire. "Biology and Archetypal Theory Anthony Stevens .Archetypes: A Natural History of the Self. New York, Quill, 1983; (London, Routledge & Kegan Paul, 1982)." San Francisco Jung Institute Library Journal 5, no. 4 (June 1985): 1–21. http://dx.doi.org/10.1525/jung.1.1985.5.4.1.

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박현영 and Jaeeun Yoon. "A Study on the Characteristics of Archetype Expression in Dark Tourism Space - Focused on Carl Gustav Jung's Archetype theory -." Journal of Korea Intitute of Spatial Design 14, no. 7 (December 2019): 361–74. http://dx.doi.org/10.35216/kisd.2019.14.7.361.

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Chapman, G. Clarke. "Jung and Christology." Journal of Psychology and Theology 25, no. 4 (December 1997): 414–26. http://dx.doi.org/10.1177/009164719702500402.

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Can Jungian thought help revitalize Christology for modern believers? First, a survey of Jung's comments on Jesus shows his portrayal of a charismatic young rabbi who came to embody the cardinal archetype of the Self. But he lost contact with his shadow side (the figure of Satan thus gaining differentiation) and on the cross was forsaken by Yahweh. So the incarnation, incomplete in Jesus, yearns for fulfillment through the individuation (“Christification”) of each Christian. Second, a mixed evaluation seems required by theology. Jung offers valuable resources to Christology by his depiction of Jesus’ suffering and true humanity in a cross-cultural setting and by his summons to a responsible imitatio Christi. But theology must object to Jung's idiosyncratic exegesis, his docetic figure of Christ, the absence of any resurrection, and the disjuncture of Jesus both from earthly evil and from a sadistic God of wrath.

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Evans Romero, Constance. "Ancient ecstatic theater and Analytical Psychology: creating space for Dionysus." International Journal of Jungian Studies 9, no. 2 (May 4, 2017): 75–83. http://dx.doi.org/10.1080/19409052.2017.1306332.

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ABSTRACTThis paper explores links between the theatrical aspect of the Dionysian archetype and Analytical Psychology. It looks at some of the Dionysian elements in Jung’s published work and follows up with a brief exploration into how some of the potentially generative aspects of the archetype continue to be suspect in current clinical practice. Plutarch’s historic anecdote about the first actor, Thespis, and his dialogue with the Athenian Magistrate, Solon, will provide a focus with which to explore Dionysian elements within the Individuation process. A final section includes a short case history illustrating Dionysian elements unfolding in the theater of Jungian analysis.

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Galipeau, Steven. "Archetypal Typology." Jung Journal 3, no. 2 (April 2009): 89–94. http://dx.doi.org/10.1525/jung.2009.3.2.89.

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Journal articles on the topic 'Jung's archetypes'

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