Dissertations / Theses on the topic 'Archetypal'

This research aims to examine Chinese myths, legends and tales from the perspective of analytical psychology. Considering that analytical psychologists have paid little attention to Chinese myths and that previous studies on Chinese myths from the standpoint of analytical psychology are lacking, this thesis investigates the universal archetype and its cultural carrier, or archetypal image, in Chinese mythical texts. First, this study examines both Jung’s engagement with Chinese culture, in order to see the function and significance of Chinese thought in analytical psychology, and the reception of Jungian thought in China, in order to demonstrate the lack of research on Chinese myths from the perspective of the theory of analytical psychology. Second, the study defines the concepts of archetype and archetypal image, and adopts the method of myth analysis from Jung and his followers to interpret Chinese motifs and symbols. Third, interpretations from the perspective of analytical psychology are applied to three motifs in Chinese culture: creation myths, flood myths and erotic anima figures. These provide materials for exploring similarities and differences in the mechanism and development of the human psyche between East and West. Fourth, this research concentrates on discussing two important Chinese symbols – Long (dragon) and Qi lin (unicorn) and their counterparts in western culture – by analysing these symbols at both the archetypal and cultural levels. The final part of this study explores the possible therapeutic value of Chinese myths in helping analysts to comprehend the human psyche and analysands to understand themselves in greater depth. This thesis fills a gap in the understanding of Chinese myth by means of Jungian psychology with the hope also of applying analytical psychology to Chinese culture more thoroughly and insightfully in both theoretical and practical contexts.

In the composition Archetypal Dreams, musical imagery is created through motifs and ideas that represent the symbolic messages of the unconscious. These motifs are introduced, developed, transformed, and overlapped in contrapuntal dialogue. This unfolding of material grows in significance and complexity building to a resolution of tension. The relationship of motifs to the row is re-established and the row is reconstructed. In this manner the conscious and unconscious elements of the personality are symbolically reconciled. The four movements of the work are entitled: I. Primordial Images; II. Archaic Remnants; III. Mythological Motifs; IV. The Process of Individuation

Emotion is an intriguing and mysterious psychological phenomenon. While everyone seems to know what it is, researchers have not yet come to consensus on its definition, and many questions still remain unanswered. While the nature of emotion is yet to discover, the design community has noticed is importance, and poses the challenge of how emotion could inform design. We see the necessity to follow the state of the art in psychology and initiate the undertaking by exploring the emotional qualities in various types of media content. The first part of this thesis aims at constructing a theoretical framework. Recent years have seen empirical studies suggest that emotion could be unconscious. While this is to be further justified, scientists are motivated to reconsider current theories of emotion to account for this phenomenon. In light of this, we integrate these studies about unconscious emotion into our literature review. An overview from theory to practice is illustrated to provide a reference for viewing the current states in application domains, such as affective computing and emotional design. This review offers a holistic understanding about emotion from various perspectives, which allow us to look for new directions in future studies. Based on our review, we see a promising direction by applying psychoanalysis methods to analyze the media content as affective stimuli, and these stimuli can be evaluated by using quantitative measures to investigate the connection between the content and the corresponding emotions. The analysis on the media content is based on a psychoanalysis theory¿the theory of archetypes¿proposed by Carl Jung. He argues that there exists a universal pattern in humans¿ unconscious thoughts, which can be manifested as symbolic content in various forms of narratives, such as myth and fairy tales. Today, this archetypal symbolic content can be seen in modern media, particularly in movies. By applying the Jungian approach, we analyzed the symbolic meaning in movie scenes and edit these feature scenes into a collection of archetypal media content, which serve as the experimental materials for later explorations. In the second part of this thesis, we present three experimental studies that aim at determining if archetypal media content can be differentiated based on emotional responses. We adopted the psychoanalytical approach described earlier to collect feature scenes in movies as archetypal media content. Meanwhile, affective stimuli of explicit emotions are also included as benchmarks for comparison, such as sadness and joy. Self-reports and physiological signals are both adopted for measuring emotional responses. These three studies follow similar experimental design: presenting stimuli and measuring emotion concurrently. The results of these studies confirm that emotions induced by archetypal content are different from explicit emotions, and the statistical analysis further indicate that the predictive model obtained from physiological signals outperforms the model generated from self-reports while viewing archetypal media content. These results, however, are opposite to the results gained from affective stimuli of explicit emotions, leading us to the conclusion that archetypal media content might induce unconscious emotions, and physiological signals are more effective than self-reports for recognizing emotions induced by archetypal media content.
La emoción es un fenómeno psicológico intrigante y misterioso. Aunque todo el mundo parece saber lo que es, los investigadores aún no han llegado a un consenso sobre su definición, y todavía quedan muchas preguntas sin respuesta. Si bien la naturaleza de las emociones está aún por descubrir, la comunidad de profesionales del diseño ha entendido su importancia, y se plantea el desafío de interrelacionar ambos mundos, explorando de las cualidades emocionales en diversos tipos de contenido en medios de comunicación. La primera parte de esta tesis tiene como objetivo la construcción de un marco teórico. Recientemente se han realizado estudios empíricos que sugieren que las emociones puede ser inconscientes. Si bien esto debe justificarse mejor, los científicos están motivados a reconsiderar las teorías actuales de la emoción para explicar este fenómeno. En vista de ello, integramos estos estudios sobre las emociones inconscientes en nuestra revisión de referencias bibliográficas incluyendo dominios de aplicación recientes, tales como la Computación Afectiva y el Diseño Emocional. Una dirección prometedora de investigación se basa en la aplicación de métodos del psicoanálisis para analizar contenidos multimedia como estímulos afectivos, y estos estímulos pueden ser evaluados mediante el uso de medidas cuantitativas para investigar la conexión entre el contenido y las emociones correspondientes. Este análisis se basa en la teoría de los arquetipos propuesto por el psicólogo Carl Jung. El autor sostiene que existe una patrón universal en los pensamientos inconscientes de los personas, que puede manifestarse como un símbolo contenido en las diversas formas de narrativas, como en los mitos y los cuentos de hadas. Hoy en día, estos arquetipos de contenido simbólico se puede ver frecuentemente en los contenidos multimedia modernos, sobre todo en las películas. Mediante la aplicación del enfoque de Jung, analizamos el significado simbólico en escenas de películas seleccionando las correspondientes a diversos arquetipos, que servirá como material experimental para exploraciones posteriores. En la segunda parte de esta tesis, se presentan tres estudios experimentales que apuntan a determinar si el contenido multimedia arquetípico puede diferenciarse en base a respuestas emocionales. Con el enfoque psicoanalítico descrito anteriormente para los arquetipos, también se incluye los estímulos afectivos de emociones explícitas son como puntos de referencia para la comparación, como la tristeza y la alegría. Se realizan auto-informes y se miden señales fisiológicas para la determinación de las respuestas emocionales en todos los experimentos realizados. Los resultados de estos estudios confirman que las emociones inducidas por arquetipos son diferentes de las emociones explícitas, y el análisis estadístico indica además que el modelo predictivo obtenido a partir de señales fisiológicas supera el modelo generado por los auto-informes durante la visualización de contenidos multimedia arquetípicos. Estos resultados, sin embargo, son opuestos a los resultados obtenidos a partir de los estímulos afectivos de emociones explícitas, llevándonos a la conclusión de que los contenidos de los medios arquetípicos podría inducir emociones inconscientes, y que las señales fisiológicas son más eficaces que los auto informes para el reconocimiento de las emociones inducidas por el contenido de medios arquetípico. En la tercera parte de esta tesis, exploramos cómo los contenidos arquetípicos podrían utilizarse para diseñar contenido multimedia mediante "mood boards". Se realizaron dos estudios con diseñadores para responder a la pregunta de investigación de si es posible generar contenido emocionalmente rico a través de la generación automática de contenido arquetípico por "mood boards" en comparación con el contenido multimedia no arquetípico.

One of the primary pursuits of archetypal psychology has been to "unpack the backpack" of psychology—relying heavily on a methodological stance of via negativa, or description through negation, and deconstruction. This position has resulted in a wealth of critique that, while often controversial and even heretical, has had a significant impact on the field of psychology. It is important to note, however, that this deconstructive approach is also one fantasy amongst many. A move towards seeing through this methodology invokes an immediate encounter with the dismembering influence of Dionysus. It is the Dionysian presence that facilitates the radical re-visioning and tearing apart of stale, violently fixated, and dogmatic theory and practice. Through the work of archetypal psychology, Dionysus has presented as a dialectic partner to the abhorrent one-sidedness of Apollonian natural science psychology. As necessary as this deconstruction has been, James Hillman (2005) himself has noted, every archetypal image has its own excess and intensity. Without an explicitly constructive element, the clinical implications of archetypal psychology will remain largely dormant. Archetypal psychology has yet to produce a work that effectively encapsulates an archetypal approach to psychotherapy (Hillman, 2004). True to its Dionysian form, dismembered pieces of therapeutic method are strewn throughout the literature (Berry, 1982, 2008; Guggenbühl-Craig, 1971; Hartman, 1980; Hillman, 1972, 1975a, 1977a, 1978, 1979b, 1980b; Newman, 1980; Schenk, 2001a; Watkins, 1981, 1984). This study will attempt to gather the disparate pieces of archetypal method and weave them together with dreams, fantasy images, and clinical vignettes in an effort to depict the particular style taken up by archetypal psychotherapy. While respecting the importance of deconstruction and via negativa, the aim of this research is to re-construct and clearly describe the primary elements of a therapeutic method derived from the literature of archetypal psychology using a theoretical design complemented by the alchemical hermeneutic method resulting in a depiction of an archetypal approach to psychotherapy. The face of archetypal psychotherapy that has taken form throughout this study is one in which the phenomenal presentation of psychic image is given radical autonomy and privilege.

Keywords: Archetypal, Dream, Image, Myth, Psychotherapy.

Aquesta Tesi desenvolupa l’Anàlisi d’Arquetipus (AA) i demostra la seua viabilitat i rigor. Amplia la tipologia de dades amb les quals pot treballar utilitzant, a banda de les dades multivariants contínues, dades binàries i dades funcionals. Aquesta amalgama de dades l’hem treballat implementant AA en diferents bases de dades, donant com a fruit tres investigacions independents. En la primera aportació treballem resultats d’exàmens utilitzant una variant d’AA, l’Anàlisi d’Arquetipoids (ADA) amb dades binàries i funcionals, en la segona aportació presentem un algorisme basat en AA per a treballar la segmentació de textures i en la darrera presentem un altre algorisme per a la cerca de dades atípiques (outliers). En totes aquestes investigacions, s’han utilitzat dades reals i s’ha fet un estudi comparatiu amb altres anàlisis i algorismes més reconeguts. Els resultats obtinguts han demostrat amb escreix la viabilitat i la competència d’AA.
This Thesis develops the Archetype Analysis (AA) and demonstrates its viability and rigor. Expands the type of data which can work with, in addition to continuous multivariate data, it will manage binary data and functional data too. This amalgam of data will be used by implementing AA in different databases, resulting in three independent investigations. In the first contribution we work out exam results using a variant of AA, Archetypoids Analysis (ADA) with binary and functional data, in the second contribution we present an AA-based algorithm to work on texture segmentation and in the last one we present another algorithm for the search outliers. In all these investigations, real data have been used and a comparative study has been done with other more recognized analyzes and algorithms. The results obtained have demonstrated the AA feasibility and competence.

Bibliography: leaves 239-280.
This thesis suggests that dream analysis is a crucial theoretical tool, not simply to assist the individuation process, but also to gain understanding of the severing of body from soul that is so linked to addiction. Thus the thesis proposes that dream analysis is a key means to access one's spirituality, not, simply a psychoanalytic technique. It draws on a range of disciplines and discourses, located in a Jungian and ecofeminist framework, to suggest that a growing crisis of ill health - at both individual and ecological levels - is attributable, in essence, to a loss of soul. It focuses on addiction as a reflection of this loss, attempting to show that the relentless craving of the addict is best understood as spiritual hunger. The deep desire which underlies this hunger is expressed in multiple ways in our dreams. A major aspect of the thesis is an attempt to explicate the nature of the loss, and of the hunger which points to it. I suggest that both have their roots in the patriarchal conquest and denigration of women and the feminine, which may be seen inscribed on the ravaged bodies of women and Mother Earth. The first four chapters lay the groundwork for the case study of a woman whose experience illustrates much of the complexity of this theoretical discussion. The value of dream analysis as a theoretical tool which actively assists the individuation process is presented in Chapter 1 within a multi-disciplinary framework. In Chapter 2, the focus details and analyses the Jungian model and approach to dream interpretation in preparation for the concluding 9ase study. Parallels between relevant aspects of the Buddhist and Hindu traditions and Jungian models are also explored. Chapter 3 examines archetypal patterns of addiction seeking to understand the dynamic of wounded desire and displaced spiritual hunger. Postmodern links are made. Chapter 4 suggests that the devaluation and violation of the female body has its roots in the elevation of the patriarchal sky god of the Abrahamic tradition. The need for a rigorous application of a hermeneutic of suspicion towards androcentric constructions of meaning is highlighted and related to the vulnerabilities females experience in relation to embodiment. Foreshadowing key issues of the case study and linked clearly to the thematic of addiction, the impact of sexual abuse on the child's experience of embodiment becomes a theoretical focus. The case study conducted with a 31-year-old bulimic after her release from hospital, attempts to demonstrate the practical relevance of these ideas. A series of dreams recorded by her are analysed thematically and interpreted to support the claim that dreams offer a window on the transformative process of soul recovery. Thus major theoretical issues explored include the nature of the feminine, in various notions of "soul", themes of embodiment in relation to the disembodiment characteristic of the addict, the contemporary relevance of the archetypal imagery contained in myth and folk tales, and convergences between Jungian, ecofeminist, New Age, Eastern and postmodern discourses. Dream work, I suggest, opens the way to healing and empowerment.

Dissertação (mestrado) - Universidade Federal de Santa Catarina , Centro de Comunicação e Expressão
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Análise das personagens femininas nos romances As I Lay Dying e Light in August de William Faulkner baseada na crítica tradicional dos arquétipos e revisada através da crítica feminista dos arquétipos. As personagens femininas apresentadas nos dois romances, quando analisadas sob uma perspectiva revisionista, passam de meros arquétipos estáticos nos romances a indivíduos ativos na sociedade e com os mesmos direitos e deveres atribuídos aos indivíduos do sexo masculino.

The image of Eve leaning toward the serpent and reaching for the forbidden fruit lives at the heart of the predominant creation myth of the Western world and still reverberates in its psyche. At the same time, a singular and literal interpretation of Eve has dominated cultural discourse and psychological life: Eve is understood as the one who brought death and depravity to humanity and is cast as Everywoman. The Eden story has been implicated in the patriarchal narrative regarding the inferiority of women—if every woman is Eve, then Woman holds the fall of humanity from divine grace in her guilty hands—as well as in narratives contributing to racism and environmental degradation. This hermeneutic inquiry asserts this interpretation and these implications are highly questionable and deeply problematic, then reconsiders Eve and her transgression in cultural-historical, mythological, and archetypal contexts—seeking to deliteralize and recover the complexity of this figure. Close attention to these contexts reveals Eve to be a mythic figure deeply linked to Goddess traditions during a great mythological shift as Goddess mythologies were being supplanted by Sky Father mythologies, and an exemplar of a larger mythic motif of feminine transgression. The resulting depth psychological reading of Eve’s transgression shows Eve as a particular style of consciousness, demonstrating specific archetypal dynamics, characteristics, and ways of knowing.

The purpose of this study was to determine which archetypal settings independent living residents of facilities that provide assisted living need and expect in the private living spaces of assisted living residences. The researcher developed an Archetypal Place Concept for Assisted Living Private Dwellings, based on work by Spivak (1984), which included eight archetypal categories with four sub-categories each. This concept was then used as a tool to evaluate scale models of assisted living dwellings constructed by independent living residents of retirement communities that offer assisted living. Seventeen residents in four retirement communities in Southwest Virginia participated in the research. The findings revealed that sample members believed all eight archetypal categories should be included in assisted living private dwellings. However, the degree to which the archetypal categories should be developed in a dwelling varied depending on whether the sample members were familiar with large or small assisted living dwellings. The most popular combination of sub-categories for sample members familiar with large assisted living dwellings was: multiple rooms not shared by unrelated adults, with separate sleep and living areas; separate sleep areas out of the living room with a door; bathrooms with a toilet, sink, shower, vanity closet, and linen closet; food storage with cooking appliances; two built-in closets; windows facing one direction, some with an outdoor area; separate seating for living and dining out of the sleep area; and kitchenettes with a refrigerator, sink, and cooking appliances. The most popular combination of sub-categories for sample members familiar with large assisted living dwellings was: one room not shared; a sleep area not shared, with no separate living room; a bathroom with a toilet, sink and shower, tied with toile, sink, shower, vanity storage, and linen closet; food storage with no cooking appliances; two built-in closets; windows facing one direction; designated seating arrangement within sleep area; and no kitchen, possible food storage. It was concluded that assisted living facilities should include a variety of dwelling types to meet different people's needs. However, any assisted living dwelling should include all eight archetypal categories to allow residents to function more comfortably.
Master of Science

A good urban space must fulfill the promises of complexity and variety. This thesis investigates how to define an urban plaza in terms of universal elements employed to achieve that complexity. An alternating grid, a, b, a, composed of squares of five and ten feet provides an order for all the elements on the site. Each element is generated and organized from this grid. The dominant elements are thirty-foot tall concrete columns. These columns and their subsequent structural armature define the structure of buildings and an underground parking structure. The columns form a continuum which ties together every aspect of the thesis. Visually, they are present everywhere in the plaza and define very specific views of the plaza and the surrounding city. Together with an intricate mosaic floor pattern created from overlapping ellipses, also based on the grid, the massive columns and fine-grained floor define the extremes of the plaza's scale.

The development of a number of potential elements always failed when put together to form a cohesive idea of a contained plaza. A clear order was necessary to bring together different elements into a cohesive whole. This led to the definition of a plaza as a sensibly apparent and rationally knowable outdoor public building contained within a city or town.

For an area which previously lacked any structural cohesion, the ordered plaza now defines a strong structural element within the city. The grid and columns define space but do not force a single usage. They define how the plaza is used as it weathers the continual change of an urban environment.

The plaza does not exist as an independent element within the city. The many framed views offered by the columns create new perspectives of the surrounding city. The universal elements, the columns, reference the site specifically in their scale and proportion. Applicable in a wide range of projects, the grid of columns in this project orders a pedestrian environment connecting downtown and a baseball stadium. Three buildings which derive directly from the grid create additional small openings to the city beyond. While focusing toward the center, the buildings define a permeable edge which allows interaction.
Master of Architecture

Significant passages in Alice Walker's writings give evidence of archetypal patterns from Carl Jung and feminine archetypal patterns from Annis Pratt. Since a knowledge of archetypal patterns can influence the total understanding of aspects of Walker's writings, a study of these patterns in the undergraduate classroom benefits the student and opens up another system of analyzing writings, particularly writings by African-American women.

This thesis uses archetypal theory as explained by Carol Pearson in The Hero Within: Six Archetypes We Live By to illustrate the heroic journey undertaken by the protagonist in Edna St. Vincent Millay's poem "Renascence." Feminist archetypal theory is a useful lens for gaining the reader access to the underlying paradigms of struggle experienced by the female literary character because it exposes the parallels that exist in separate female experiences. By applying Pearson's theory to Millay's work, readers are able to elucidate more clearly the methods used by the poet to create commonality and continuity with her female audience. Throughout the poem, the protagonist hero recursively circles through the Innocent, Orphan, Martyr, Wanderer, Warrior, and Magician phases. This essay utilizes a close reading strategy to illustrate its argument and provide evidence to its conclusions.

The present analysis is intended to shed some light on Forster&
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s use of myth, recurrent mythical images and archetypal patterns in his works. This study analyses Forster&
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s archetypal images making particular references to his major works namely, short stories, Where Angels Fear to Tread, A Room with a View, The Longest Journey, Howards End and A Passage to India. The study is confined to the functions and significance of the mythical images and archetypal patterns represented in the aforementioned works. Forster tried to reflect the insecurity and rootlessness of modern life through mythical motifs
he showed a modern man who has become alienated from himself and nature. Forster&
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s most obvious use of mythology is found in the short stories, which are fantasies. It is a mythology which stems from earth and nature, the two elements which act as unifying forces throughout his fiction. It is interesting to note further that this preoccupation with earth and nature is carried into all the other novels before A Passage to India. Forster&
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s use of classical myth and his general attitude toward nature and earth are found in all his fiction. The method used is archetypal criticism
it deals with archetypes which are primordial images perceived across cultures, inherited from time immemorial, issuing from a &
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collective unconscious&
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. An archetype is a mythic symbol, which is deeply rooted in the unconscious, more broadly based on a foundation of universal nature than an ordinary literary symbol, and is more generally expressive of the elemental in man and nature. Chapter one identifies the dominant archetypal approaches and further selects the most appropriate framework for a study of myth and archetypes in Forster&
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s work. Chapter two deals with nature archetypes which find their best expression in Forster&
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s short stories. Chapter three and four focus on Forster&
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s character archetypes in his A Room with a View, and Where Angels Fear to Tread. Chapter five attempts to explore the tragic and heroic aspects of the character archetypes in The Longest Journey. Chapter six deals with Forster&
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s use of archetypal symbols in Howards End. Chapter seven focuses on Forster&
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s prophetic vision in A Passage to India, in which Forster exhibited a prophetic tone of voice and extended the scope of his archetypes. The purpose of this dissertation is to analyse E. M. Forster&
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s use of myth, recurrent mythical images and archetypal patterns in his efforts to communicate his vision of life. This study argues that Forster progresses from fantasy to prophecy. Depending on this progress, Forster&
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s archetypes evolve. This investigation familiarises the reader with how mythical motifs and archetypes enable the author to communicate his vision of reality, which is essentially timeless. Keywords: Mythology, Archetype

Exploring a "call" to a place, this work uses the Alchemical Hermeneutic method developed by Robert Romanyshyn, along with elements of Rosemary Anderson's Intuitive Inquiry and Craig Chalquist's Terrapsychology to reflect on the "soul" of a part of Monterey, California, on a hill known to the Rumsen Ohlone people as "Hunukul." With a view of the Monterey Bay, which conceals a mile-deep canyon and provides the environment for the upwelling of a teeming marine life, a portal is found through which to enter the depths of Psyche, both historically and existentially.

Many groups have met in this place, from the time that the first buildings were erected by a group of Theosophists from Pasadena in 1918 to the current occupation by Saint James Episcopal Church. Young people with disabilities, addicts and alcoholics, people with psychiatric diagnoses seeking expression through art, Zen meditators, Korean evangelicals, and the Monterey Bay Friends of C. G. Jung have all found refuge in the place, and a way to dwell together.

Archetypal commonalities among these groups are herein explored, including the wounded image of Christos Dionysos (contrasted with the heroic image of Christos Mithras), strong manifestations of women's leadership and power, and an ongoing presence of the shadow of war.

Rather than postulate a quasi-material soul of this place, the relationship of human psyche and the psychic dimensions of place are seen as part of an ongoing process, the boundaries of which pulse in space and time through the life expressed in this place. Place may not "have" a soul. From one perspective, place may "be" soul.

This production-style dissertation explores the psychological aspect of drawing with dream images. It introduces a practical method, called Mythic Drawing, which can help artists work with dream images in an authentic way. For James Hillman, the founder of Archetypal Psychology, dreams do not reflect the outer world of empirical reality. Rather, they express the inner world of psychic reality through mythological resemblances. Therefore, to draw adequately with images, the artist must give up the rational approach of step-by-step formulas and abstract concepts, and instead, sensitize these methods to the metaphorical style of the dream.

The essence of Mythic Drawing is play. The artist engages the dream image as an active participant, like an actor playing a part. The role of "artist" is relativized and seen through to the many archetypal figures one embodies while drawing, such as a child, a dancer, an architect, or a shaman. The artist accepts the dream images as alive, intelligent and capable of asserting a will of their own. In this way, drawing becomes a collaborative activity that fosters a dynamic relationship between the artist and the creative figures of his or her imagination.

Using a hermeneutic method, the dissertation outlines the theoretical basis of Mythic Drawing, while at the same time examining traditional assumptions and biases in art education. It then tests the efficacy of the ideas discussed through two intensive drawing projects. A heuristic method is applied throughout the production of drawings which helps provide reflection upon and analysis of the creative process.

Poet David Ray imagines, "The poem is the altar for the dream" (1998, p. 176). This dissertation focuses on amplifying dreams with poetry from a collective perspective through the lens of archetypal psychology. The research was a collaborative effort of oneiric poetics nested in a dream group focused on engaging psychopoesis in relationship to archetypal value in dream images portraying the collective psyche and current cultural surround.

Hermeneutic phenomenology addressed the two central research questions: What are the dynamics that serve meaning making, or the transformation of meaning, when poetry is used to amplify dreams? How does this work develop further when engaged by a dream group aimed at collective meaning making? Phenomenological analysis described the essence of the lived experience of the co-researchers' engagement with writing dream poetry, moving from raw dream text through archetypal amplifications and associations in the group setting, culminating in dream poetry. Hermeneutics examined the shifting horizons of imaginal awareness that emerged from the intersubjective field of the dream group and how these horizons, infused with archetypal sensitivity, altered the co-researchers' subsequent relationship to the dream's images when creating dream poetry.

The research revealed the importance of a tripartite approach to dream work that is aware of the literal, psychological, and archetypal dynamics of meaning making. Thirteen dynamics that serve meaning making emerged from this tripartite analysis. Key among these are: conservation of the dream image view shed; building a relationship with and expressing interest in the image; liberation of the imaginal ego; relativizing the day-world ego; archetypal empathy; expanded awareness through commonality of archetypal dream themes; cultural awareness through a group dialogic regarding collective dream themes; and archetypal themes condensed in dream poetry.

The research reimagined the conversation between depth psychology, poetics, and dreaming beyond the personal or day-world ego's interpretations. This dissertation attends to the dream poet's pen and, by doing so, revivifies the imaginal ego, rejuvenates the poetic basis of mind, and refreshes psychopoesis as meaning-making agents in depth psychology. In a valuable move for archetypal psychology, this dissertation enlists these three precious premises in service of the sensus communis.

A case study conducted under the rubric of integral inquiry, this research explores the application of Jungian and archetypal psychology to the growth process of an organization. Drawing upon analysis of public documents using Corlett and Pearson’s Archetype of Organization model, it identifies the Hero, Ruler, and Sage as the archetypes most active within the organizational psyche of the Oregon Public Health Division and the Jester, Explorer, Creator, and Caregiver as archetypes in the organizational shadow. Focus group discussion data characterizes these archetypes and contributes to specific recommendations for how this archetypal analysis could inform the agency’s development and modernization. Guided by Hillman’s process of “seeing through,” further analysis provides alchemical and mythological perspectives on the agency’s organizational psyche informed by metaphorical analysis of documents and focus group data, the somatic and emotional responses of researcher and participants, and the researcher’s dream and self-generated mandala images. This inquiry demonstrates that archetypal analysis can provide a valuable and unusual perspective on an agency, a nuanced opportunity for an organization to “know thyself” not available by means of conventional public health program evaluations or organizational assessments.

The central aim of this study was to explore the meaning of death as both a literal and an imaginative reality, and to elucidate the fundamental tensions between these meanings of death in modern existence. Recognition was given to the need for a poetic rather than a scientific approach to thanatology, and an epistemological foundation for a poetics of death was sought in the tradition of gnosis. Theoretically, the study was grounded in the analytical psychology of C.G. Jung. It was argued that despite Jung's erratic allegiance to a Cartesian ontology and epistemology, his approach to death was nevertheless fundamentally poetic. The poetic parameters of death and dying were explored in the context of Jung's understanding of the dialectical tension between the ego and the self, and it was concluded that while death represents an opening to the imaginative possibilities of existence, these potentialities can come to the fore only when there is a corresponding willingness to die. In these terms, it was concluded that the tension between life and death forms a pivotal dynamic of human existence. These considerations led to the Question of whether the poetic parameters of death and dying are applicable to the encounter with death as a concrete actuality. It was hypothesised that the approach of death would be met at two levels of reality, that of the ego and that of the self. The expectation was that while death would be seen as a literal ending from the perspective of the former, it may represent the fulfilment of Being from the viewpoint of the self. It was also assumed that the tension between these images of death would be mediated by way of archetypal symbols, which represent the bearers of gnosis in modern culture. To address these issues at an empirical level, a hermeneutically grounded thematic analysis of 108 dreams reported by dying persons was undertaken. Twenty initial themes emerged from the data. Each of these themes was in turn elucidated by way of Jung's method of amplification. This exercise yielded five concise themes, these being (a) death, (b) transformation, (c) the self (d) the Feminine, and (e) the Masculine. It was concluded that dreams manifesting during the dying process reveal a fundamental tension between literal and metaphoric possibilities of death. Dream symbols were also found to mediate between this tension, and to orchestrate the individuation process. It was concluded that in the context of dying, dreams may reflect and facilitate the emergence of a meaningful gnosis of death. The clinical implications of these findings were onsidered, and indications for further research were provided.

Poly(3-nitratomethyl-3-methyloxetane) (PNMMO) is a nitrate ester pre-polymer which can be cured with an isocyanate and utilised as a binder in solid rocket propellants; CH3 X[-H2C-C-CH2-0-]nY CH2ONO2 where X and Y are the end groups. Electrospray ionisation (ESI) mass spectra of untreated PNMMO show that it contains a series of low-mass cyclic and linear oligomers incorporating up to 22 monomer units. Oligomers of higher mass appear not to be detectable by ESI mass spectrometry. The relative abundances of the cyclic oligomer ions in the spectra are affected by various factors but the governing influence is the size of the alkali metal cation used to promote ionisation. The cyclic and linear oligomers can be separated from each other using column chromatography and the cyclic species can be individually characterised by ESI, size- exclusion chromatography (SEC) and 13C nuclear magnetic resonance (NMR) spectroscopy. Thermal degradation results in the gradual increase in intensity of two main new absorptions around 1729 and 1550 cm'1 in the solution infrared (IR) spectrum of PNMMO. The band at 1729 cm 1 is attributed to the carbonyl group in a formate ester and the formate proton and carbonyl carbon associated with this compound are clearly visible in the ‘H and l3C NMR spectrum at 8.1 and 162 ppm respectively and can be cross-correlated by 2-D NMR. The absorption at 1550 cm 1 is attributed to the asymmetric stretch of a nitro group attached to a tertiary carbon. We propose that this nitro species is formed by the recombination of NO2 following the loss of N02 and subsequent elimination of CH20 from the PNMMO side-chains. The assignment of this nitroalkane was confirmed by ESI and spectroscopic characterisation of a nearly pure sample of the tetrameric nitro species isolated from pyrolysed PNMMO using column chromatography. The thermal degradation pathways and products of polypropylene oxide) (PPO) were found to bear some similarities to those of PNMMO. ESI and matrix-assisted laser desorption ionisation (MALDI) mass spectra of thermally and photolytically degraded PPO show that oxidation occurs predominantly at the secondary carbon as opposed to the tertiary carbon.

Doutoramento em Bioquímica
A pepsina A tem sido considerada um protótipo do grupo das proteinases aspárticas, cuja relevância ao nível da patofisiologia humana tem estimulado intensa pesquisa. As propriedades moleculares e catalíticas da pepsina A começaram a ser exploradas há cerca de um século. Contudo, a informação existente sobre a estabilidade conformacional desta proteína em condições nativas é insuficiente. Elucidação dos factores responsáveis pela manutenção do estado conformacional naturalmente enrolado e activo de proteínas é vital para estabelecer estratégias de modulação da estabilidade. Com o objectivo de obter novos conhecimentos acerca das bases da estabilidade conformacional da pepsina A, foi adoptada uma abordagem que consistiu na indução e monitorização da desnaturação da proteína no seu estado naturalmente enrolado. A severidade das condições ambientais foi gradualmente agravada por adição de desnaturantes e / ou modificação de propriedades físicas e químicas do sistema proteína-solvente. Após uma fase de incubação nas condições desnaturantes, com a duração típica de 1 h, mudanças nas propriedades espectrais, no comportamento hidrodinâmico, na estabilidade térmica e na actividade peptidolítica da pepsina A de suíno foram avaliadas. O solvente orgânico, acetonitrilo, induziu destruição não-cooperativa dos arranjos secundário e terciário desta proteína. Sugere-se que a drástica debilitação das estruturas de hidratação pelo acetonitrilo terá impelido o desenrolamento global. Adicionalmente, a pepsina A revelou-se particularmente resistente à acção desordenante de dois agentes caotrópicos clássicos, o hidrocloreto de guanidina (GdnHCl) e a ureia. Um estado intermediário estável foi identificado durante a reacção de desenrolamento da proteína nativa induzida pelo GdnHCl. A adição de acetonitrilo a uma molaridade intermédia permitiu a identificação de um diferente estado parcialmente desenrolado na presença de GdnHCl a concentrações prétransicionais. Dados espectroscópicos indiciam promoção de ordem local a nível do esqueleto polipeptídico pela ureia a baixas e altas molaridades. Indução de extenso desenrolamento da proteína pela ureia requereu concentrações quase saturantes deste desnaturante e períodos de exposição de duração superior a 1 h. Foram detectados fenómenos de aparente estabilização, quando a fase de pré-incubação da proteína em ambos os agentes caotrópicos a baixas molaridades foi prolongada para 3 dias. A pepsina A no seu estado nativo revelou-se bastante termoestável. Contudo, 1 h de exposição da proteína, antes do seu aquecimento, a qualquer dos três desnaturantes a concentrações pré-transicionais foi suficiente para aumentar a termolabilidade da proteína. Contribuições de interacções hidrofóbicas e estruturas de solvatação para a estabilidade conformacional da pepsina A no seu estado biologicamente activo são discutidas nesta dissertação.
Pepsin A has been considered a prototype of the group of aspartic proteinases, whose significance in human pathophysiology has galvanized intensive research. Molecular and catalytic properties of pepsin A have been explored for about a century. However, there is only fragmentary data on the conformational stability of this protein under native conditions. Elucidation of the factors accountable for the maintenance of the natively ordered and active conformational state of a protein is vital for engendering strategies for tailoring stability. In order to gain new insights into the scaffold of the conformational stability of pepsin A, an approach based on induction and monitoring of denaturation of the natively folded protein was adopted throughout the investigation reported herein. Environmental stringency was gradually increased by adding denaturants and / or modifying chemical and physical properties of the protein-solvent system. After a period of incubation in the denaturing conditions, which lasted typically 1 h, changes in spectral properties, hydrodynamic behaviour, thermal stability and peptidolytic activity of porcine pepsin A were appraised. The organic solvent, acetonitrile, was found to induce non-cooperative destruction of secondary and tertiary arrangements of this protein. Drastic debilitation of hydration structures by acetonitrile is suggested to have triggered global unfolding. In addition, pepsin A revealed to be particularly resistant to the disordering action of two classic chaotropes, guanidine hydrochloride (GdnHCl) and urea. A stable, intermediary state could be identified in the pathway of GdnHCl-induced unfolding of native pepsin A. Upon addition of acetonitrile at an intermediary molarity, a different partially unfolded state could be identified in the presence of GdnHCl at pre-transitional concentrations. It is apparent from spectroscopic data that urea promoted local backbone order at low and high molarities. And, periods of exposure longer than 1 h to urea at near-saturating concentrations were required to onset gross unfolding by this denaturant. Phenomena of apparent stabilization were detected when submission of the protein to both chaotropes at low molarities was prolonged to 3 days. Furthermore, pepsin A in its native state was noted to be rather thermostable. However, 1 h - incubation at pre - transitional concentrations of any denaturant prior to heating caused a raise in the protein thermolability. Contributions from hydrophobic interactions and solvation structures to the conformational stability of pepsin A in its biologically active state are discussed in this dissertation.

This hermeneutic and alchemical hermeneutic dissertation reviews Jungian literature related to body-based methods of practicing depth psychotherapy to address the problem of extremely limited body-based Jungian psychotherapeutic modalities. It goes on to offer explanations of the various psychological aspects of four of the five Elements within Chinese medicine. It then offers four sequences of Five Element Archetypal Qigong (FEAQ) related to the four Elements previously addressed: Wood, Fire, Metal and Water. It concludes with a discussion of findings and recommendations for future research and practice. Essentially, this dissertation uses the psychological concepts and insights contained in Chinese medicine to show how they can be applied to Jungian psychotherapy through the moving meditation of FEAQ. Body-based psychotherapies constitute a minuscule fraction of the literature and practice modalities within Jungian psychotherapy. This dissertation begins the process of increasing the validity and prevalence of body-based Jungian psychotherapy. It also implies the need for further research on the applicability of Chinese medical concepts to contemporary Western body oriented psychotherapies.

This thesis ultimately seeks to present a coherent reading of 1 Kings 13 that is attentive to literary, historical and theological concerns. I begin by summarising and evaluating the overtly theological exposition of the chapter by Karl Barth, as set out in his Church Dogmatics, and then considering how this was received and critiqued by his academic peers (Martin Klopfenstein in particular), whose questions, priorities and methods were very different to those of Barth. In this way, as well as exposing substantive material in the text for further investigation, a range of hermeneutical issues that sometimes undergird exegetical work unseen are brought into the foreground. I then bring a wider scope of opinion into the conversation by reviewing the work of other scholars as well, whose methods and priorities also diverge from those of Barth or Klopfenstein. At the same time, I categorise these studies so as to simultaneously assess different views on what 1 Kings 13 is about, and divergent views on how it is deemed best to approach this subject matter. After considering four additional readings of 1 Kings 13 in some depth, I present a more theoretical discussion about some perceived dichotomies in biblical studies that tend to surface regularly in methodological debates. I then return to Barth’s exposition via the work of David Bosworth, who aims to advocate and develop elements of Barth’s proposal for wider acceptance. After evaluating his work, I conclude with my own reading of 1 Kings 13, drawing on many of the exegetical and methodological insights presented by scholars whose lines of inquiry are not always those I would myself have chosen. Ultimately, my proffered reading, which sees Josiah as a central figure in the narrative, leans on insights from Barth and one of his harshest critics, Martin Noth.

Mythological studies deepens and layers the significance of fashion and dress through an archetypal exploration of Greek goddess fashion archetypes--Aphrodite, Athena, Artemis, and Hestia. The research reveals how these archetypes and their shadows influence the fashion industry from the creation of a garment to when it is worn on the body. The production component of the dissertation entails archetypal fashion design curriculum that contains an instructor's guide for an archetypal women's fashion design course at the collegiate level. The study is tailored to expand fashion design students' understanding of fashion silhouettes and design elements that fit certain fashion archetypes and how the fashion archetypes manifest within target markets, consumers' styles, and consumption choices. The theoretical portion of the research examines fashion theory as a multidisciplinary approach through which to investigate why the body is covered. Within fashion theory, mythological studies offers a new perspective through which to study fashion archetypally by canvassing Greek and Roman myths tied to the four goddesses and by exploring depth psychological and Jungian concepts, such as archetypes, shadow, psyche, and the collective unconscious as they relate to fashion.

The research concludes: a woman's fashion identity and personal style convey one or more goddess fashion archetypes; to express identity and style, garments on the body communicate a visual story about oneself to others that relates to one or more of the goddesses' stories (or myths) archetypally; goddess fashion archetypes categorize fashion silhouettes, such as dresses, pants, and gowns, as well as archetypal goddess fashion silhouette themes, such as masculine/structured, feminine/sensual, functional/comfortable, or conservative/playful; and clothing the body is due to an instinctual drive that is informed by Greek goddess archetypes in Western fashion. Further implications for this research include creating a guide for consumers to understand their preferred archetypal style, employing fashion archetypes to retail when merchandising clothing stores and purchasing inventory for consumers, and developing god fashion archetypes, such as Zeus, Hermes, Ares, Dionysus, and Hephaistos for men's fashion.

The myth of Circe and Odysseus has been told, interpreted and retold from Homer's time to the present. This thesis begins with a detailed study of Homer's balancing of positive and negative elements of the myth and argues that Homer's Circe is connected with age-old traditions of goddess worship, particularly of Artemis of Ephesus. Chapters III and IV investigate the cultural context in which the purely negative Circe of the Homeric allegorists developed and how this allegorical Circe affected works by other ancient writers, particularly Virgil and Ovid. Later chapters demonstrate how this negative allegorical view of Circe prevailed through the Renaissance and seventeenth century, as evidenced in mythographies, Calderon's plays and by Spenser's Acrasia. The study concludes that allegorical interpretations of the Circe myth were founded on body-soul dualism, so that not until this belief is questioned and abandoned by Joyce and Atwood in the twentieth century are more original and/or positive Circes found.

This study aims to interpret Lives of Christian saints as examples of religious literature. Hagiography is commonly studied as an historical artefact indicative of the politics or linguistics of the time in which a text was composed, but few theorists have attempted to interpret its religious content. As these texts were composed within monastic environments I argue that the religious content may be illumined by a methodology which identifies an implicit theology of sanctity within the narrative. The biblical hermeneutic method proposed by Paul Ricoeur in the mid-twentieth century is applied to the earliest Lives of Samson, Cuthbert, and Brigit. These three date from the mid- to late-seventh century, a time of secular and ecclesiastical change, in some cases profound turmoil. Historical context for the composition of each text is presented; texts are analysed for biblical allusions and literary sources, and submitted to structural analysis. Motifs of religious and archetypal significance are derived from the work of theorists in folklore, anthropology, Bible, and the History of Religions. Each text is examined for motifs and patterns that disclose the structural framework used to organize the work. The structural analysis is then used to highlight central themes in the text. This interpretive process imagines a dynamic encounter between text and reader which combines historical inquiry with biblical hermeneutic, fulfilling Ricoeur’s expectation that the encounter would expand the reader’s horizon of meaning. Samson’s encounters with serpents and sorceress function as an initiatory pattern drawing monastics into a dynamic of spiritual growth. Cuthbert’s time on Farne Island includes echoes of the Desert Saints as well as the crucifixion of Christ and results in a brief but powerfully kenotic episcopal ministry. Brigit’s Kildare becomes the locus of the New Jerusalem, City of Refuge and Peaceable Kingdom.

This study traces archetypal images in selected prose fiction by Edgar Allan Poe and shows his consistent use of such imagery throughout his career, and outlines the archetypal images that Poe uses repeatedly throughout his works: the death of the beautiful woman, death and resurrection, the hero's journey to the underworld, and the quest for forbidden knowledge. The study examines Poe's use of myth to establish and uphold archetypal patterns. Poe's goal when crafting his works was the creation of a single specified effect, and to create his effects, he used the materials at hand. Some of these materials came from his own subconscious; however, a greater portion came from a lifetime of study and his own understanding of the connections between myth and archetypal images.

In our increasingly complex and interactive world, it becomes ever more difficult to isolate and map the cultural identity of any given region, as bounded and contained cultural places have become a rare occurrence. To further complicate the matter, perspectives, loyalties, and identities shift with time, and appear to shift with circumstance. While cultural conflict per se was not the subject of this study, the ability to quantify differing cultural profiles in one location relative to another may be the beginning of the development of a tool for assessing degrees of difference in neighboring regions, and thus diagnosing the potential for conflict escalation. The Compass System, a holistic model that uses eight archetypal categories to observe and evaluate complex systems, was used for this study. In this exploratory study, 33 restaurants in 5 cities in Chile were rated in these eight categories as perceived by a team of outsider observers. The predominant qualities of each city sampled, determined solely from the sampling of its restaurants, did match, in a general sense, qualities of the city that were otherwise observable. This matching indicates that a tool such as the Compass System can be used to gather a collective regional profile from small sampling, such as an area’s restaurants. Potential uses for further research and development could include conflict management and assessing risk for social instability or escalation of violence.

Clinical terminology and definitions regarding trauma, retraumatization, and their residual symptoms are numerous and sometimes conflictual. This thesis uses a heuristic and hermeneutic methodology to explore the author’s experiences of what he has termed traumatic reactivation, due to the inconsistency and inaccuracy of the available clinical terminology. These traumatic reactivations are examined through various psychological lenses. The techniques of association and amplification are used regarding the experiences to identify archetypal dynamics that may have been present. The experience of traumatic reactivation is also explored with C. G. Jung’s theory of psychological types, as well as with specific connections between psyche and soma. The thesis eventually posits that these experiences, although initially shocking and overwhelming, have a purposive function and are in the service of healing, rather than a destructive reexperiencing of traumatic material.

This thesis offers a Jungian-inflected reading of three key New Woman novels: Mona Caird's The Daughters of Danaus (1894), Sarah Grand's The Beth Book (1897), and Olive Schreiner's From Man to Man (1926). By examining two archetypal images---the Child and the Spirit---not as psychological entities but as symbolic forms in the socio-cultural context of the fin de siecle, I explore the ways in which feminist New Woman writers seek to present women artists' collective experience and the extent to which their work revises the dominant discourses of female subjection and sacrifice. Part I is engaged with the Child Archetype with a focus first on the Abandoned Child, where I investigate sisterless children through a combined discourse of sisterhood and trickster. In Chapter 1, I add a discussion of Caird's maternal theory and a mythic reading to examine motherless children. In Chapter 2, I include a study of a loverless child to cast light on the conventional ideology of woman's purity. In the second section of this Part, where Chapter 3 is located, I scrutinize the ways in which Grand portrays the Nature Child in the Romantic and Transcendental fashions, the ethics of which, I argue, anticipate today's ecofeminism. Part II deals with the Spirit Archetype in different manifestations (the Wise Old Man in Chapter 4, the Romantic Knight in Chapter 5, and the Platonic Lover in Chapter 6), drawing attention to gender-power politics in relation to the New Man and the New Woman by adopting different approaches (revised Jungian, quasi-Bakhtinian Camivalesque, and narratology). Shifting signifiers, the Child and the Spirit archetypes, I argue, are New Woman writers' strategic vehicles to (con)textualize women's collective concerns. This act of female "unconsciousness-raising" caused a sensation at the time and can now serve to better our understanding of the diversity and discursiveness of the New Woman movement.

Though many father-son pairs struggle with relating, on average heterosexual father-homosexual son pairs are much less affectionate and symbiotic than their heterosexual counterparts (Floyd, Sargent, & Di Corcia, 2004). According to feminist investigators, conflictual relations between heterosexual fathers and homosexual sons are grounded in antihomosexual stigma and prejudice (Floyd et al., 2004) and gender atypical behaviors (Savin-Williams, 2001). From a depth psychological perspective, these dysfunctional relations are ascribed to shared cultural complexes (Singer & Kimbles, 2004a) of the archetypal masculine. In order to understand these processes, the current study explored the lived experience of cultural complexes of the archetypal masculine shared between heterosexual fathers and homosexual sons. The study applied a phenomenological method of analysis to data collected from interviews of an ethnically diverse convenience sample of 3 heterosexual fathers and 3 homosexual sons. The results yielded 12 major themes: performance anxiety, gendered fathers, atypicality, variant masculinity, heteronormative masculine reinforcements, homonegativity, group inclusion and exclusion, microaggressions, shame and embarrassment, suppression and restriction, withdrawal, and disconnection. These themes were further organized and discussed from both the feminist and depth psychological perspectives. The analysis revealed that when heterosexual fathers and homosexual sons cling to one end of the archetypal masculine spectrum, they fail to observe their disidentified selves projected in the other. This leads to an endless cycle of shared cultural complex interactions that corrupts heterosexual fathers and homosexual sons from relating to each other as well as to themselves. Keywords: Cultural complexes, archetypal masculinity, homosexuality, stigma

This thesis analyzes the process of women&rsquo
s mythmaking in the plays written by female playwrights. Through writing the lives of female writers and rewriting the literary characters, which have been created by male writers, the women playwrights assume the role of a mythmaker. A mythmaker possesses the power to use the &lsquo
word,&rsquo
thereby possesses the power to control &lsquo
reality.&rsquo
However, for centuries, women have been debarred from generating their own myths, naming their own experiences, and controlling their own &lsquo
realities.&rsquo
Male mythmakers prescribed the roles women were required to perform within the society. Feminist archetypal theorists believe that through a close study of related patterns in women&rsquo
s writing, common grounds, and experiences, the archetypes shared by women will be disclosed. Unveiling these archetypes will eventually lead to the establishment of new myths around these archetypes. As myths are regarded as the source of collective experiences, analyzing how women have rewritten, revised, devised, and originated myths would thus permit women to reclaim the power to name, and hence to influence the so-called reality established by the patriarchy. Hence, this study analyzes the constantly developing process of women&rsquo
s mythmaking/mythbreaking in Liz Lochhead&rsquo
s Blood and Ice, Rose Leiman Goldemberg&rsquo
s Letters Home, Bilgesu Erenus&rsquo
Halide, Timberlake Wertenbaker&rsquo
s The Love of the Nightingale, Bryony Lavery&rsquo
s Ophelia, and Zeynep Avci&rsquo
s Gilgamesh. These playwrights try to depose the stereotypical images attributed to women by male mythmakers.

Uncovering the feminine myth has been the topic of numerous studies. In recent years, research has focused on the return of ancient images of the goddess as the primary metaphor for the feminine myth. Utilizing feminine typologies from Jungian archetypalists and feminist scholars, this study summarizes the research on the archetypal feminine in order to analyze Diane di Prima's Loba poems. An analysis of the poems is undertaken and reveals patterns of feminine images which are consistent with other revisionist literature by women. The analysis is then used to frame a production of poems as a ritual celebrating the Loba as goddess. As Christine Downing suggests in The Goddess, women need images of the goddess to recognize the divine in themselves. The adaptation of the Loba poems for performance creates such an image. It also creates a theatre piece with what Sue-Ellen Case calls "woman as subject." As a result of this study, the goals of feminist archetypal theory are advanced as well as the goals of feminist theatre.

Millions of people are spending billions of hours each week playing digital games. These astonishing numbers point to a vast reservoir of psychic material that has been relatively unexamined by the field of depth psychology. Yet, in a realm of virtual games where image is primary and fantasy is played out, soul (psyche) is clearly present in its various disguises.

Through play and fantasy, unconscious content of the psyche is able to express its deep longings. Hypnogogic landscapes of video games provide immersive realms in which players enact psychological dramas. However, to date most psychological research of game experiences has been primarily empirical analysis within cognitive behavioral psychology and neuroscience. The question of soul-making within games is rarely approached.

In this qualitative interdisciplinary study of game studies and depth psychology, the relationship between digital games and psyche is explored through the lens of archetypal psychology. The overarching goal is to address whether the constructs of archetypal psychology provide an adequate psychological framework for understanding the phenomena of digital game worlds.

This study looks primarily to archetypal psychologist and Jungian psychoanalyst James Hillman, to ground the research in depth psychological concepts of archetype, image, and soul. Hillman’s four concepts of personifying, pathologizing, psychologizing, and soul-making, as conveyed in Re-Visioning Psychology (1975/1992), provide the guideposts for the structure of interviews with four prominent game narrative designers, fieldwork discussions, and hermeneutic investigation of the literature.

The results of this dissertation demonstrate games as a virtual theater where psyche can play; the psychological necessity of personification and regression through fantasy; the role of archetypes in the creation process of game experiences; and the importance of archetypal influences within game realms for broader and richer context for soul’s participation. In addition, this study provides initial languaging allowing archetypal psychologists and game designers to enter into both game analysis and exploratory conversations, resulting in deeper meaning-making in gameplay. This work introduces depth psychologists to the important domain of digital games for soul and suggests to game designers a new access path as game designs evolve in new directions.

Keywords: Archetypal psychology, Jung, Hillman, videogames, pathology, soul.

This inquiry follows several threads: Adolescence as an archetypal complex; manifestations of trauma and countertransferential responses in the alternative high school classroom; and resistances to self-transformation, the hallmark of heuristic self-search inquiry. Guiding questions address the necessary, ethical, and compassionate practice of honoring a mythopoetic approach and the imaginal field in the alternative high school classroom. Using a heuristic self-search inquiry approach, research was conducted in four nonlinear and nonchronological phases: immersion, acquisition, realization, and synthesis. The inquiry can be viewed as a poetic reverie of the author’s transformative journey of healing from personal trauma by encountering and working through resistance. Alternately, the inquiry can also be viewed as an example and extended praxis of archetypal reflectivity, a professional development practice that fosters mythopoesis in education.

Held within the metaphoric framework of the myth of Dionysos, including motifs of Ariadne’s Thread, Duende, and the archetype of indestructible life, the research is presented as a journey through the Passages of the labyrinth to a final encounter with the Minotaur. The concluding chapter includes a psychoanalysis of the author’s journey, identifies unconscious countertransferential responses in the classroom which curtailed effective student progress, and argues that nuturing the archetypal Adolescent plays a vital role in our humanity.

Keywords: adolescence, alternative education, archetypal reflectivity, Dionysos, trauma, mythopoesis.

Thesis advisor: Timothy Duket
Synthesizing elements of so many traditions, fantasy has grown into perhaps the most pervasive genre of literature in the western world. The archetypal adventures and themes that have been carried into fantasy through ancient legends and myths have survived over the ages because it was decided long ago those tales had great worth. It was the unpopular and poorly formed legends that died out, while the superior stories were carried from culture to culture under new guises. In this way, fantasy can be seen as the culmination of human legends, filtered throughout history so that only the great tales remain. On what greater pedestal could a form of literature be based? Fantasy has even continued the refinement process in the last fifty years, with active writers like Jordan and Goodkind incorporating elements from the greatest of previous fantasy authors like Tolkien, Howard, and Donaldson. Thus fantasy is continually improving upon itself and evolving in new ways through its modification of old themes. How long can critics refuse to recognize fantasy as a legitimate form? With such admirable authors writing today, it seems logical that the answer would be sooner rather than later. Might fantasy be vanquished by sneering critics and replaced with another form of fiction? Gandalf claims even the Wise cannot see all ends, and while in no way do I profess such wisdom, I find it difficult to believe that, as the successor of mythology, fantasy will ever fizzle and die. A force greater than all the magic swords and rings combined would be necessary to kill four thousand years of human imagination
Thesis (BA) — Boston College, 2003
Submitted to: Boston College. College of Arts and Sciences
Discipline: English
Discipline: College Honors Program

Whistleblowers often report that they "had no choice" Aside from a few psychoanalytic studies, most whistleblowing research takes a post-positivist correlative approach seeking to identify likely antecedents to whistleblowing. Studies ignore the meaning of what the whistleblower is resisting, consequently missing what conditions might be contributing to individuals blowing the whistle on perceived wrongdoing. Organizational scholarship has begun to use Jungian interpretation; the author hypothesizes that this irresistible impulse is due to whistleblowers being sensitive to archetypal activity in Jung's collective unconscious, specifically a newly condensed form combining aspects of the Hero the seer and the Artist. In this frame, whlstleblowers are seen as countering the cultural repression of the light aspects of the Heraclean and the Jacobean Hero by embodying the re-emergent heroic Horus archetype, the Son and Champion of the Dark Queen. Within a theoretical framework that marries the principles of Jamesian pragmatism and critical theory, the archetypological approach priorizes an ethical teleology and allows for a flexible epistemology. The author has developed a distinctive method - the mytho-poetic analysis of social experience (MPASE) - to reveal new understandings from medical whistleblower narratives and dream reports. This method draws on abductive case study selection, Jungian amplification, Social Dreaming methodology and listening Post technique. Panel members of a Dream/Image Reflection Group free associate to excerpts from the whistleblower data, and then both sets of responses are subjected to the author's mytho-poetic amplification. Analysis highlights the importance of looking beyond organizational limits to the larger societal context in which organizations are embedded. This facilitates a recognition of the levels of misconduct that whistle blowers are resisting, and a way of comprehending the meaning of whistleblowing.

The thesis introduces the Archetypal Market Hypothesis (AMH). Based on complex psychology and supported by insights from other (mind) sciences it describes the unconscious nature of investing and how it shapes price patterns. Specifically, it emphasises the central role of numerical archetypes in price discovery. Its ontological premise is the market’s mind, a complex adaptive system in the form of collective consciousness which originates from the collective unconscious. This premise suggests that investing involves more than cognition and reaches beyond rationality and logic. Among others, the thesis clarifies the affective impact of price discovery: it is not only what we can do with prices, but also what they can do with us. Numbers receive their affective powers from the numerical archetypes. They preconsciously create order in the mind by facilitating the dynamics of symbolic mapping as the mind attempts to make sense of what it senses, bridging the imaginative with the real. This autonomous and often dominating impact of the numerical archetypes manifests itself: • in individual consciousness via numerical intuition, and • in crowd consciousness via participation mystique which underlies intersubjectivity. The thesis will argue that both are supported cerebrally. The collective intersubjective nature of the market’s mind and its symbolic expression via prices make it an exemplary phenomenon to be researched because the archetypal dynamics are strongest in such spheres. The PhD’s goal, as part of the AMH proposition, is twofold. First, to formalise theoretically the concept of the market’s mind, in particular the collective experience of market states, generally known as market moods, and how these shift as a result of herd instinct. Second, to propose a framework for further empirical research to show that representing market data in a non-traditional way, based on Jung’s active imagination and similar techniques, can improve investors’ understanding of those states. If successful, the method (including bespoke software) can complement analytical investment research methods currently used by investors.