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Journal articles on the topic 'Jungian archetypes'

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Published: 4 June 2021

Last updated: 12 June 2025

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Potash, Jordan S. "Archetypal aesthetics: viewing art through states of consciousness." International Journal of Jungian Studies 7, no. 2 (2015): 139–53. http://dx.doi.org/10.1080/19409052.2014.924984.

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A Jungian and archetypal psychology approach to aesthetics includes noticing which archetypes are activated when viewing or engaging with art. Archetypes provide vitality to art and can be accessed by viewers through attention to bodily responses and emotional awareness enhanced by imagination. Connecting these personal experiences to the collective requires framing viewers' responses within comprehensible patterns. Joan Kellogg's theory ‘The Archetypal Stages of the Great Round of Mandala’ offers a system for identifying archetypes as states of consciousness and making them accessible to a wide audience in order to aid understanding of one's responses to art.

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Rozik, Eli. "Deconstruction of archetypal characterization: the case of Nina in Chekhov's The seagull." International Journal of Jungian Studies 3, no. 1 (2011): 53–68. http://dx.doi.org/10.1080/19409052.2011.542372.

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This study explores the Jungian notions of ‘archetype’, ‘projection’ and ‘imago’, and suggests the distinction between ‘archetypal’ and ‘cognitive’ characterization on the level of intention, and its implications regarding dramatic creativity. Whereas archetypal characterization aims at matching archetypes in the spectators’ minds, cognitive characterization aims at saying something true on the nature of real people, in the spirit of naturalism. Archetypal characterization thus offers the opportunity for the spectators to confront suppressed contents of their psyches. This study also suggests a model for the transition from the archetypal mode of characterization to the cognitive one through a process of deconstruction, and applies this model to Nina's process of individuation from adolescence to maturity in Chekhov's The seagull.

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Mills, Jon. "On the Origins of Archetypes." International Journal of Jungian Studies 12, no. 2 (2020): 201–6. http://dx.doi.org/10.1163/19409060-01201008.

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Abstract The question of archetypes and their origins remains an ongoing debate in analytical psychology and post-Jungian studies. The contemporary discussion has historically focused on privileging one causal factor over another, namely, whether archetypes are attributed more to biology than culture and vice versa. Erik Goodwyn offers a mesotheory of archetypal origins that displaces the radical bifurcation as a false dichotomy. I offer my own reflections on the origins of archetypes and argue that this discussion can be further advanced by addressing the question of unconscious agency.

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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 (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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LaLlave, Juan Antonio, and Thomas Gordon Gutheil. "Expert witness and Jungian archetypes." International Journal of Law and Psychiatry 35, no. 5-6 (2012): 456–63. http://dx.doi.org/10.1016/j.ijlp.2012.09.012.

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V.М., Kavun. "UKRAINIAN NATIONAL ARCHETYPES AS COMPONENTS OF CULTURE." HUMANITARIAN STUDIOS: PEDAGOGICS, PSYCHOLOGY, PHILOSOPHY 12, no. 3 (2021): 87–92. http://dx.doi.org/10.31548/hspedagog2021.03.087.

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Purpose of research systematization of information about Ukrainian national archetypes, determination of their characteristics and ways of influencing the formation of Ukrainian culture. Methodology. In achieving this goal, the following research methods were applied: historical, observation, analysis, comparison, periodization method, generalization of the problem studied. Scientific Novelty is to determine the role of Ukrainian national archetypes in the formation and development of culture. Conclusions. Cultural archetypes and historical forms form the foundations of any national culture, including Ukrainian. They determine its content and functional integrity. The basis of our research was the Jungian concept, according to which socio-cultural development provides for a vivid embodiment of archetypes in a particular culture, and vice versa, inhibition of social processes through the absence of a specific archetype. The very concept of an archetype remains multifaceted and voluminous.Ukrainian national cultural archetypes are clearly expressed in myths, legends, fairy tales, customs and rituals, traditions, folklore, which summarizes the experience of our ancestors.

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Legeza, O. "JUNG’S CONCEPT OF ARCHETYPES IN FEMINIST REVISIONIST MYTHOLOGY, IN THE CONTEXT OF M. ATWOOD’S PENELOPIAD AND M. MILLER’S CIRCE." East European Scientific Journal 1, no. 8(72) (2021): 43–48. http://dx.doi.org/10.31618/essa.2782-1994.2021.1.72.107.

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The article deals with the concept of archetypes by K. G. Jung in the context of M. Atwood’s The Penelopiad and M. Miller’s Circe, which represent feminist revisionist mythology tradition. The study focuses on exploring the transformation of the Jungian archetypes of the figures of Penelope and Circe in Atwood and Miller’s novels. The author argues that while in original myths Penelope and Circe represent the archetypes of Mother and the feminine representation of Wise old man, in the novels Penelope’s archetype transforms into Mask, and Circe starts representing Mother archetype. The author comes to the conclusion that such transformation is a result of Atwood and Miller’s dealing with feminist agenda as well their attempt to present different sides of female experience, making mythological figures closer to real women.

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Szyszka, Kamila. "Wewnętrzna podróż do Demiana – archetypy jungowskie w "Demianie" Hermanna Hessego." Acta Neophilologica 2, no. XXIII (2021): 177–94. http://dx.doi.org/10.31648/an.6664.

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This paper analyses Hermann Hesse’s novel Demian in the context of Jungian psychological archetypes. Hesse’s in-depth interest in psychoanalysis is evident in his works. The content of Demian was particularly influenced by Carl Jung’s psychoanalytic concepts since the author had undergone Jungian psychoanalytic treatment prior to writing the novel. The paper claims that most major characters in Demian are in fact personifications of Jungian archetypes of: self, shadow, and anima. It is indicated that it would be impossible to understand the novel properly without basic knowledge of these archetypes. It is demonstrated that Demian is in fact a novel dealing with the inner psychological development of an individual even though it may not appear so if the characters and events are interpreted literally.

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Donald, Beatrice. "Knowing as Holistic Experience: A Challenge to Plato from Jungian Sandplay." Paideusis 17, no. 2 (2020): 75–80. http://dx.doi.org/10.7202/1072432ar.

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Plato’s suggestion that pure knowledge, described in his theory of Forms as the archetypal basis of reality, is questioned using the sequence from the key session of a Jungian Sandplay therapy case as an example of direct human experience of the archetype. As was recognized by Jung, a parallel may be drawn between Jungian archetypes and Platonic Forms in that both are primary structures contained and manifested in the phenomenal world. In Sandplay, a patient unable to transcend her quandary through reason is able to find relief from the tension of the arguing opposites within her when she creates an image with her hands, in a state of reverie, responding to an internal impetus governed not by reason alone but by spontaneous, nonverbal sensory experience. The image she creates in this way brings her into a deep relationship with herself and marks the beginning of a newly forming selfconfidence that guides her. This example illustrates the holistic nature of human experience and change processes, in therapy or in any learning context.

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Thomases, Drew. "Appropriating Archetypes." Nova Religio 24, no. 3 (2021): 96–120. http://dx.doi.org/10.1525/nr.2021.24.3.96.

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Based on ethnographic fieldwork in Southern California, this paper explores how non-Indians use and appropriate statues of Hindu deities. In particular, I focus on a particular group of spiritual seekers who see these statues, or murtis, not as manifestations of the divine—that is, not as Hindu gods themselves—but instead as symbols that correspond to Jungian “archetypes.” This spiritual practice of “working with” an archetype is quite different from what one might encounter in a Hindu temple in India, and indeed, the underlying theologies of the practice map better onto American metaphysical religion than they do Hinduism. The article ends with a reflection on appropriation, focusing on the ways in which this spiritual practice promotes a form of universalism in which the very idea of appropriation becomes impossible.

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Lindenfeld, David. "Jungian archetypes and the discourse of history." Rethinking History 13, no. 2 (2009): 217–34. http://dx.doi.org/10.1080/13642520902833833.

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Brown, Mary Louise, Seonaidh McDonald, and Fiona Smith. "Jungian archetypes and dreams of social enterprise." Journal of Organizational Change Management 26, no. 4 (2013): 670–88. http://dx.doi.org/10.1108/jocm-sep-2012-0146.

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Laughlin, Charles D., and Vincenza A. Tiberia. "Archetypes: Toward a Jungian Anthropology of Consciousness." Anthropology of Consciousness 23, no. 2 (2012): 127–57. http://dx.doi.org/10.1111/j.1556-3537.2012.01063.x.

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Habeebul, Rahman. "The crisis “Archetypogram” – of prisoners, soldiers, sages and jesters." Asia Pacific Scholar 6, no. 3 (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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Russo, Paola. "Il trauma nella trasmissione psichica tra le generazioni." STUDI JUNGHIANI, no. 27 (February 2009): 77–108. http://dx.doi.org/10.3280/jun2008-027005.

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- The article directly refers to the revision of some basic concepts of Jungian thought, (archetypes as psychic organizers, the discussion on the relationship between intra-psychic vs. inter-subjective, the notion of psychic contagion, the concepts of psychoid and synchronicity), and to the most recent post-Jungian research (the archetypes as image schemata, by Knox, the emergent psychic development by Cambray, or the defences of the Self, by Kalshed). Referring to these themes, it is possible to connect some contributions coming from psycho-analysis to some possible mechanisms of inter-generational transmission. The Jungian perspective on psychological trauma (present conflict, dissociation and regression, adaptation) may give an important contribution to shed light on the fact based on clinical observations that beyond the direct effects of trauma which are directly felt by the person, the latter's mental life may be deeply affected and tied to traumatic events and contents which do not involve him directly, as they belong to previous generations.

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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 (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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Awuzie, Solomon. "A Psychoanalytic Reading of Tanure Ojaide’s Poetry." English Studies at NBU 3, no. 2 (2017): 74–87. http://dx.doi.org/10.33919/esnbu.17.2.2.

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Psychoanalysis as a literary theory has helped to improve understanding about “human behaviour and human mental functioning.” This is achieved through its perception of the human race as neurotic. However, with its application in poetic interpretation, poetry is perceived as an expression of displaced neurotic conflict: a consoling illusion, symptom, socially acceptable phantasy or substitute gratification. With the psychoanalytic reading of the poetry of Tanure Ojaide, an Anglophone African poet, poetry is understood as an expression of symptoms of the poet’s personal and societal neurotic tendencies. Since our emphasis is on Jungian psychoanalysis, analyzing Ojaide’s poetry through the orbits of the archetypes of Jungian psychoanalysis help to foreground the poetry as a consoling illusion or substitute gratification. Whereas the study reveals that Ojaide’s poetry is dominated by the archetype of the “wounded healer” - a symbol of a wounded personality who also doubles as the needed messiah (the healer), it is depicted that the dominant nature of the archetype of the “wounded healer” is a result of the poet’s experience which is at the centre of his poetic expression.

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Zwart, H. A. E. (Hub). "Archetypes of Knowledge." International Journal of Jungian Studies 12, no. 2 (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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Dominici, Gandolfo, Valeria Tullio, Giuseppe Siino, and Mario Tani. "Marketing Archetypes: Applying Jungian Psychology to Marketing Research." Journal of Organisational Transformation & Social Change 13, no. 2 (2016): 109–22. http://dx.doi.org/10.1080/14779633.2016.1192809.

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Walle, Alf H. "ARCHETYPES, ATHLETES, AND ADVERTISING: A JUNGIAN APPROACH TO PROMOTION." Journal of Consumer Marketing 3, no. 4 (1986): 21–29. http://dx.doi.org/10.1108/eb008176.

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Akca, Uljana. "The Archetype as Form of Ontological Difference." International Journal of Jungian Studies 12, no. 2 (2020): 180–200. http://dx.doi.org/10.1163/19409060-bja10004.

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Abstract It has often been argued that Jung failed to explain and ground his theory of the archetypes sufficiently, as he remained caught between a psychological, a biological, and a transcendent model of explanation. Inspired by Martin Heidegger’s methodology in Being and Time, this paper will combine an ontological inquiry with a phenomenological analysis of the archetype, to re-interpret it beyond the Jungian psychology and its inherent paradoxes. I will outline a distinction between a psychological appropriation of the archetype, and one that approaches its numinosity as such. According to my argument, this twofold phenomenology of the archetype reveals it to be a form through which we become aware of an ontological difference within our being. The argument will mainly be unfolded through an interpretation of the nymph-maiden in Lucas Cranach’s 16th century painting series Nymph of the Spring, followed by an assessment of our contemporary relation to the same archetype.

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Bessa, Maria De Fátima de Castro. "Post-Jungian perspectives on archetypes of individuation in Aldous Huxley’s Brave new world and Island." Em Tese 12 (December 31, 2008): 105. http://dx.doi.org/10.17851/1982-0739.12.0.105-111.

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The archetypes of individuation, as proposed by C. G. Jung, have been challenged by post-Jungian writers. Persona, shadow, anima and self offer examples of these new approaches, and their use in the analysis of Aldous Huxley’s Brave New World and Island highlight some cultural aspects of the novels.

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Et. al., Hema R,. "Analysis of Archetypal Characters in Anita Nair’s Mistress and Lessons in Forgetting." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 2 (2021): 1236–38. http://dx.doi.org/10.17762/turcomat.v12i2.1163.

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The present paper analyses the archetypal elements present in the select women characters in the novels Mistress and Lessons in Forgetting. The archetypal presence is in the form of Indian mythological characters. This presence resides in the unconscious psyche of the characters Radha and Akhila. Radha identifies herself with mythological Radha and Ahalya. Akhila identifies herself with goddess Kanyakumari. The paper also analyses how these archetypal presence make them subjugated women and also how they help them to move beyond their stereotypical roles they play in the family and society. The characters Radha and Meera are ordinary women who emerge as potential, emancipated women at a later stage. They struggle in the process of transition from tradition to modernity. In their quest for identity, they emerge as strong and independent women. The paper is analyzed from Jungian perspective of archetypes.

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Quirós-García, Elizabeth. "Classical Elements of Nature in Galway Kinnell’s The Book of Nightmares." Revista Espiga 20, no. 40 (2020): 76–96. http://dx.doi.org/10.22458/re.v20i40.3252.

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The aim of this study is to analyze Kinnell’s The Book of Nightmares from an archetypal and mythological approach. While there have been different approaches to reading Kinnell’s book-length poem, their primary concern has been Kinnell’s work in relation to other poets of his generation rather than the analysis of the book-length poem as a unity in which archetypes and myth intersect, with a central focus that is: the classical elements (water, fire, air, and earth), as fundamental elements for the resolution of the binary oppositions life and death in the hero’s quest.. Therefore, for the purpose of this study, the Jungian archetypal approach will be assumed as well as Campbell’s mythical focus, considering that these perspectives are still a valuable means for the analysis of literary texts.

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Danylova, Tetiana. "The Modern-Day Feminine Beauty Ideal, Mental Health, and Jungian Archetypes." Mental Health: Global Challenges Journal 3, no. 1 (2020): 38–44. http://dx.doi.org/10.32437/mhgcj.v3i1.99.

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Introduction: It can be argued that beauty is not only an aesthetic value, but it is also a social capital which is supported by the global beauty industry. Advertising kindly offers all kinds of ways to acquire and maintain beauty and youth that require large investments. Recent studies demonstrate that physical attractiveness guided by modern sociocultural standards is associated with a higher level of psychological well-being, social ease, assertiveness, and confidence. What is behind this pursuit of ideal beauty and eternal youth: the life-long struggle for survival, selfless love for beauty, or something else that lurks in the depths of the human unconscious? Purpose: The aim of the paper is to analyze the modern-day feminine beauty ideal through the lens of Jungian archetypes. Methodology: An extensive literary review of relevant articles for the period 2000-2020 was performed using PubMed and Google databases, with the following key words: “Feminine beauty ideal, body image, beauty and youth, mental health problems, C.G. Jung, archetypes of collective unconsciousness”. Along with it, the author used Jung’s theory of archetypes, integrative anthropological approach, and hermeneutical methodology. Results and Discussion: Advertising and the beauty industry have a huge impact on women and their self-image. Exposure to visual media depicting idealized faces and bodies causes a negative or distorted self-image. The new globalized and homogenized beauty ideal emphasizes youth and slimness. Over the past few decades, the emphasis on this ideal has been accompanied by an increase in the level of dissatisfaction with their bodies among both women and men. Though face and body image concerns are not a mental health condition in themselves, they have a negative impact on women’s mental health being associated with body dysmorphic disorder, social anxiety disorder, obsessive-compulsive disorder, panic disorder, depression, eating disorders, psychological distress, low self-esteem, self-harm, suicidal feelings. These trends are of real concern. The interiorization of the modern standards of female beauty as the image of a young girl impedes the psychological development of women and causes disintegration disabling the interconnection of all elements of the psyche and giving rise to deep contradictions. This unattainable ideal is embodied in the Jungian archetype of the Kore. Without maturity transformations, the image of the Kore, which is so attractive to the modern world, indicates an undeveloped part of the personality. Her inability to grow up and become mature has dangerous consequences. Women “restrain their forward movement” becoming an ideal object of manipulation. Thus, they easily internalize someone’s ideas about what the world should be and about their “right” place in it losing the ability to think critically and giving away power over their lives. Conclusion: Overcoming the psychological threshold of growing up, achieving deep experience and inner growth, a woman discovers another aspect of the Kore, ceases to be an object of manipulation and accepts reality as it is, while her beauty becomes multifaceted and reflects all aspects of her true personality

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Molina, Mario NúAñez. "Archetypes and Spirits: A Jungian Analysis of Puerto Rican Espiritismo." Journal of Analytical Psychology 41, no. 2 (1996): 227–44. http://dx.doi.org/10.1111/j.1465-5922.1996.00227.x.

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Aurelio, Jeanne M. "Using Jungian Archetypes to Explore Deeper Levels of Organizational Culture." Journal of Management Inquiry 4, no. 4 (1995): 347–68. http://dx.doi.org/10.1177/105649269500400407.

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Stahlke, Paulette E. "Jungian Archetypes and the Personality of Jesus in the Synoptics." Journal of Psychology and Theology 18, no. 2 (1990): 174–78. http://dx.doi.org/10.1177/009164719001800208.

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Yu, Chi-Ying. "The Appearance and Resonance of Apocalyptic Archetypes in Contemporary Disaster Films." Religions 12, no. 11 (2021): 913. http://dx.doi.org/10.3390/rel12110913.

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The COVID-19 pandemic has roused the apocalyptic fear that was foreseen in religious prophecies. This research will focus on the post-9/11 and pre-COVID-19 disaster films, in an attempt to understand the representation and pre-presentation of the collective disaster psychology. Aligned with Jungian film studies, this essay regards films as a convergence of generations’ collective unconscious. Apocalypse may as well be considered the psychic archetypes that emerge in our civilization in the name of religion. This essay aims to construe the ways that apocalyptic archetypes appear and are elaborated in contemporary films, in hope of recognizing the new apocalyptic aesthetics formed in the interval between the two disastrous events. Consistent with the meaning in classic doomsday narratives, the archetypal symbols in these films are found to have carried a dual connotation of destruction and rebirth. Through empirical cinematographic style, these archetypal images are revealed in an immersive way. Disaster films from this time place emphasis on death itself, fiercely protesting against the stagnation of life, and in turn triggering a transcendental transformation of the psyche. Unlike those in the late 1990s, viewing the doomsday crisis through the lens of spectacularity, disaster in these films is seen as a state of body and mind, and death a thought-provoking life experience.

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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 (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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Khan, Imdad Ullah. "Archetypes and Creative Imagination in ‘Ode to Psyche’: A Jungian Analysis." Linguistics and Literature Review 7, no. 1 (2021): 57–65. http://dx.doi.org/10.32350/llr.71.05.

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John Keats’ ‘Ode to Psyche’ is steeped in mythology and dream symbolism, which encourages us to understand it from the perspective of depth psychology/archetypal criticism. The odes of John Keats have been studied from historicist, feminist, and biographical perspectives. This paper aims to complement these perspectives by elaborating the mythical dream imagery of the poem as referring symbolically to the process of psychic integration and poetic creativity. The paper also views the poem as exemplifying the need for a complementary ongoing communication between the conscious and the unconscious aspects of the mind to maintain a holistic psyche. Archetypal theory is used to frame the figurative structure of the poem as a symbolic mythical variant of the process of poetic creativity. The paper employs three theoretical constructs, namely syzygy or complementation of opposites; active imagination; and individuation, as a framework to analyze the poem from an archetypal perspective. Employing a depth psychological perspective to understand poetry enhances the aesthetic pleasure derived from reading poetry and enhances the 'healing effect' of poetry by illuminating the psychological connotations of the poem. The paper concludes by attempting to answer two research questions explored in the analysis. First, does archetypal perspective contribute to enhancing readers' aesthetic pleasure derived from reading poetry? Second, what are the theoretical contributions of the current analysis towards contemporary Jungian literary theory?

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Goodwyn, Erik. "Archetypes: The Contribution of Individual Psychology to Cross-cultural Symbolism." Journal of Jungian Scholarly Studies 15, no. 1 (2020): 5–19. http://dx.doi.org/10.29173/jjs123s.

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When a patient reports a dream or undirected fantasy in psychotherapy, classical Jungian technique includes, among other things, comparing this material to that of cross-cultural symbolism (CCS). The validity of this aspect of the method hinges on what we think the origin of CCS is. If we believe that the lion’s share of such content comes from specific universal tendencies of the individual psyche, then it is reasonable to look to CCS as a source of clinical interpretive information. If not, however, the method loses credibility. An examination of this comparison reveals that some discussions about archetypes have been plagued by a false dichotomy of biology vs. emergence. Addressing this problem helps to organize various theories about archetypes that compare CCS into a more productive dialogue.

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M. Mukundi, Paul, and Roselyne K. Mutura. "Unmasking unconscious fear and derangement in the Plays of Francis Imbuga." Journal of African Languages and Literary Studies 1, no. 3 (2020): 87–102. http://dx.doi.org/10.31920/2633-2116/2020/v1n3a5.

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Francis Davis Imbuga, one of the most prominent African playwrights of the 20th Century, employs diverse motifs to reveal the psyches of the characters in his works. This paper examines Imbuga's Betrayal in the City (1976), Man of Kafira (1984), and The Successor (1979) from Freudian and Jungian psychoanalytic perspectives, in order to deduce the central characters' unconscious fear and derangement in a world that is often devoid of freedom and justice. Specifically, the paper utilizes the postulations of Sigmund Freud on the unconsciousness as well as those of Carl Jung on self-archetypes. Characters' actions are considered as driven by Freudian unconscious and Jungian unconscious anima and animus-where the unconscious in fear reflects elites' greed and selfishness, while the unconscious in derangement mirrors repressed desire and guilt.

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Lewis-Williams, David, Thomas A. Dowson, and Janette Deacon. "Rock art and changing perceptions of southern Africa's past: Ezeljagdspoort reviewed." Antiquity 67, no. 255 (1993): 273–91. http://dx.doi.org/10.1017/s0003598x0004535x.

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Since 1835 travellers and scholars have been looking at, and ‘reading’, a strange painting of apparently fish-tailed figures at Ezeljagdspoort, in the southern part of the Cape Province, South Africa. Each reading has been made within some external frame-of-reference, whether supposed histories of racial conflict or Jungian archetypes of child-like primitive insight. These set aside, a surer route to an ‘inside’ reading may be based on our knowledge of Bushman shamanism.

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Khresheh, Saqer Salameh Ahmad Sahmasin, and Ady Radwan. "ARCHETYPE OF PATRIARCHY IN SAHAR KHALIFEH’S WILD THORNS." International Journal of Humanities, Philosophy and Language 2, no. 8 (2019): 109–15. http://dx.doi.org/10.35631/ijhpl.28008.

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Wild Thorns by Sahar Khalifeh emphases on the Zionist occupation of Palestine. It reflects the Zionist occupation as patriarchy. This research aims at inspecting the type of occupation that has been symbolized in the form of patriarchy in Wild Thorns. The research has been directed depending on Jungian criticism that interprets literature as a source of “archetypes”. Therefore, the research aims at interpreting the archetype of patriarchy proposed in Freud’s Totem and Taboo. Depending on this theory, humanity experienced father dominance over children and wives. Accordingly, a revolution or resistance by children and wives is justified due to the bad deeds imposed by the father dominance. In such a way, Patriarchy is embodied in Wild Thorns by the depiction of the relationship between the occupier and the occupied that enables Israel to play the role of a father who imposed bad regulations that made people live in Palestine difficult.

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Mazur, Maryna. "Historico-philosophical interpretation of the archetypes of personality as symbolic images of the collective unconscious in the receptive field of psychoanalytic views of Сarl Gustav Jung". Grani 23, № 9 (2020): 40–64. http://dx.doi.org/10.15421/172083.

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The purpose of the study is a historicо-philosophical interpretation of the archetypes of personality as symbolic images of the collective unconscious in the receptive field of psychoanalytic views of Carl Gustav Jung. The methodological basis of the study is the such general scientific principles: interdisciplinary approach, the principle of objectivity, the principle of integrity and general philosophical methods: psychoanalytic method; phenomenological method; hermeneutic method. Scientific novelty of the study consists in the fact that within the Jungian analytical psychology to the author managed to carry out historico-philosophical reconstruction of ideas about the archetypes of personality, as myth-making constructs that fill the gaps between conscious and unconscious instance and reveal the symbolic meaning of archetypal figures, which are translators of generic information. In the course of the study were obtained the following conclusions: (1) determined that the collective unconscious is a fraction that consists of structural components-archetypes, which are able to establish the internal relationship between the individual and the world around him and directly influence his worldview and behavior, which is accompanied by radical mood swings (emotional lability); (2) emphasized that the individual, as a conscious subject in order to reach maturity on a psychological level must go beyond «comfort zone», that is go through the «path of the hero» and to win their inner demons, overcoming their own fears, phobias and complexes; (3) substantiated that the archetypes are archaic images, which breaks through the «defense» of consciousness and affects the fate and life activities of human; (4) emphasized that the predominance in the collective unconscious of animal archetypes and instincts can negatively affect the human psyche and lead to the decentration of the subject (according to P.–M. Foucault), that is to the splitting of the personality; (5) analyzed the specificity of archetypes аs integrated images of own «Ego», which are reduced to universal mythologies (lat. summa summarum) and are common to the cultures of different peoples of the world; (6) found that the transcendental function is a link between conscious and unconscious structure, which in their collide is able to «painlessly» neutralize the effects of internal conflict.

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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 (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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Kostera, Monika. "Adventurers and Lovers: Organizational Heroines and Heroes for a New Time." Journal of Genius and Eminence 2, Volume 2, Issue 2: Winter 2017 (2017): 115–25. http://dx.doi.org/10.18536/jge.2017.02.2.2.12.

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Narratives resonating with profound layers of culture have such a strong influence because they use archetypes. Archetypes, understood in the Jungian way, as constructs in the collective unconscious, ready to hold important cultural material, can shape the plot, characters, time and place of such tales. I analyzed the empirical material collected during a longitudinal ethnographic study of Polish and UK alternative organizations, such as cooperatives, value driven businesses, anarchist collectives and others, operating in the margins of the capitalist system, looking for underpinning archetypical tales, which referred to their general principle of organizing. I have found two such overarching motifs: the Adventurer (or the classic Campbellian hero) and the Lover. The narrative thrust of the archetypical tales seems to be directed in opposite ways. The hybrid they form may have an interesting potential for radical change.

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Ragachewskaya, Marina S. "MYSTICAL DISTANCE IN D.H. LAWRENCE’S SHORTER FICTION: THE SPIRIT OF PLACE AND THE LANDSCAPES OF THE HEART." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 4 (2021): 42–63. http://dx.doi.org/10.18522/2415-8852-2021-4-42-63.

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This article uses the Jungian archetypal theory to analyze a selection of shorter fictions by D.H. Lawrence (the novellas The Princess (1924), St Mawr (1925), The Woman Who Rode Away (1928), The Escaped Cock (1929) and a few short stories) where the enigmatic aspect of place and distance plays an important role in the narrative, character development and personality individuation. I single out four types of the mystical distance in D.H. Lawrence, and focus on the spatial aspect. The paper shows that each novella or short story treats “the spirit of place”, albeit in a deferent light: the place may embody the Spirit, the Shadow, the Anima or Animus archetypes. Each travelling protagonist undergoes a spiritual transformation, which is presented in non-identical patterns, and the distance they cross bears the signs of the mystical. The place serves as the physical location of the quest, while the workings of the soul reveal such forms of spiritual and mystical aspects as Spirit-Animus, Spirit-Shadow, sacrifice and rebirth.

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Scheffler, Eben. "Jung, the Pentateuch and ethics." Verbum et Ecclesia 25, no. 2 (2004): 653–75. http://dx.doi.org/10.4102/ve.v25i2.292.

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This article reflects on the contribution that can be made to the interpretation of the Bible by employing the analytical psychology of Carl Jung. After some relevant biographical considerations on Jung, his view of religion and the Bible is briefly considered, followed by a look into Genesis 1-3 in terms of his distinction of archetypes. It is suggested in the conclusion that Jungian psychological Biblical criticism can lead to a changed, but fresh view on the ‘authority’ or influence of the Bible in the lives of (post)modern human beings and their (ethical) behaviour.

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Goodman, J. Robyn, Lisa L. Duke, and John Sutherland. "Olympic Athletes and Heroism in Advertising: Gendered Concepts of Valor?" Journalism & Mass Communication Quarterly 79, no. 2 (2002): 374–93. http://dx.doi.org/10.1177/107769900207900208.

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This analysis of television advertisements aired during NBC's telecast of the 2000 NBC Summer Olympics examined advertisers' use of Jungian-based concepts of heroism and gendered concepts of heroism. Using traditional archetypes of heroes—the Innocent, Orphan, Martyr, Wanderer, Warrior, and Magician—the study analyzed commercials featuring Olympic athletes. Findings were that male and female athletes were equally portrayed as Warriors. However, male athletes were more likely to be portrayed as preparing for and doing battle successfully while female athletes were more likely to be celebrated for their athletic skills and achievements.

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Myers, Steve. "Psychological vs. visionary sources of myth in film." International Journal of Jungian Studies 4, no. 2 (2012): 150–61. http://dx.doi.org/10.1080/19409052.2012.693456.

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Some film analyses that claim to be Jungian tend to take a Campbellian approach - i.e., finding the same archetypes, images and themes in each film. In his analysis of art, Jung warned that such an approach can be misleading, acting as a psychological cloak that hides the real meaning of the work. Jung used the distinctions of psychological and visionary to find the new meaning that emerges from art. This paper illustrates how these distinctions can be applied to film analysis, using the examples of Star Wars IV and Star Trek V.

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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 (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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Danylova, T. V. "PERCEIVING THE SACRED FEMININE: SOME THOUGHTS ON THE CYCLADIC FIGURINES AND JUNGIAN ARCHETYPES." Anthropological Measurements of Philosophical Research, no. 17 (June 29, 2020): 88–97. http://dx.doi.org/10.15802/ampr.v0i17.206719.

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Brophy, Matthew. "Shadowing Afrikaner nationalism: Jungian Archetypes, incest, and the uncanny in Marlene van Niekerk'sTriomf." Journal of Literary Studies 22, no. 1-2 (2006): 96–112. http://dx.doi.org/10.1080/02564710608530392.

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Quiroga, Maria Pilar. "Los sueños del mundo, una interpretación del cine desde la psicología analítica." Clínica e Investigación Relacional 16, no. 1 (2022): 107–27. http://dx.doi.org/10.21110/19882939.2022.160107.

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Analytical psychology proposes an analysis of the cinema that is completely different from other areas of psychology and very distant from the proposals of classical psychoanalysis. The difference between refers to the presence of symbolic interpretation versus semiotics, two opposing perspectives that represent radically different ways of seeing and standing before art and the world. Jungian cinematographic analysis defines the symbols as living messages constituting the cinematographic contents a kind of projected psyche. The origin of the images is located in the collective unconscious, in its archetypes, which will access consciousness from the active imagination. By experiencing the cinema, we recover images or myths that complete our personal and collective unity, stabilizing our psychic functioning and finding a kind of balance for the community. The creative process arises from the unconscious, both that of the director who creates, and that of the viewer who relives the plot, or of the actors who join the narrative with their interpretive force, all participate in the same state of connection with the unconscious contents and with the archetypal world

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Falsafi, Parinaz, Somayeh khosravi khorashad, and Alireza Abedin. "Psychological Analysis of the Movie “Who's Afraid of Virginia Wolf?” by Using Jungian Archetypes." Procedia - Social and Behavioral Sciences 30 (2011): 999–1002. http://dx.doi.org/10.1016/j.sbspro.2011.10.194.

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Singh, Khenu. "The Unstruck Sound: Archetypes of Rhythm and Emotion in Indian Alchemy and Jungian Analysis." Jung Journal 7, no. 2 (2013): 35–61. http://dx.doi.org/10.1080/19342039.2013.787887.

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Leader, Carol. "THE ODYSSEY- A JUNGIAN PERSPECTIVE: INDIVIDUATION AND MEETING WITH THE ARCHETYPES OF THE COLLECTIVE UNCONSCIOUS." British Journal of Psychotherapy 25, no. 4 (2009): 506–19. http://dx.doi.org/10.1111/j.1752-0118.2009.01145.x.

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