Статті в журналах: "Archetype (psychology)"

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Marie Mamchur, Carolyn. "IN THE ARMS OF AN ARCHETYPE." EPH - International Journal of Humanities and Social Science 3, no. 4 (November 10, 2018): 11–18. http://dx.doi.org/10.53555/eijhss.v3i4.59.

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Exploring the powerful nature of archetypes as they grab hold and thrust us, unaware, or release us into the conscious experience of their energy, In the arms of an archetype describes the author’s personal journey from one archetype, The Lover, to another, the Creator. Weaving narrative and poetry, psychological discourse and philosophy, the article examines the call and the shadow side of these two archetypes and the influences each had on the journey of a young girl into womanhood. The article presents a heartfelt reflection of Jung’s claim that “Our personal psychology is just a thin skin, a ripple on the ocean of collective psychology … and the archetypes are the real decisive forces, they decide the fate of man.”

2

Yerzhanova, S. B., and K. K. Baidetova. "PSYCHOLOGICAL AND PHILOLOGICAL ASPECTS OF THE ARCHETYPE." BULLETIN Series Psychology 64, no. 3 (September 20, 2020): 85–89. http://dx.doi.org/10.51889/2020-3.1728-7847.15.

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In our article, we paid attention to the history of the concept of archetype, studied and analyzed the concepts of archetypal plot, motive, and stopped at its place in literature, mythology, psychology, and culture. We paid special attention to the work of the Swiss scientist-psychologist C. G. Jung, who introduced the term archetype into science and studied it in psychological, philosophical, and cultural aspects. Having identified the first archetypal images shown by Jung, we made an analysis, giving importance to the role of the concept of" collective unconscious " in the archetype. In addition, we determined the scientific significance of philological research. The concepts of archetypal plot and archetypal motif introduced by the Russian scientist Meletensky were defined, and examples of archetypal motifs and plots in mythology were given. We have analyzed the concepts of myth and archetype, citing the scientific justifications in the literature. The development of the mythical motif in the works of modern Kazakh writers requires a detailed study of the concept of archetype. At all times, literature cannot separate itself from its original source –myth. Since the Archetype is closely related to mythology, we believe that the importance of this topic is very high today

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Hordiienko, N. M. "Sociological archetypology: analysis of theoretical and methodological principles and postmodern practices in Ukraine." Ukrainian Society 81, no. 2 (June 28, 2022): 32–41. http://dx.doi.org/10.15407/socium2022.02.032.

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The author substantiates conceptual and methodological principles based on a comprehensive analysis of the theoretical and scientific status of sociological archetypology within the system of modern socio-humanitarian knowledge. These principles are represented in the conceptual system comprising the following central provisions: general orientation of scientific research in the area of sociological archetypology on society as a collective subject, whose vital activity at the implicit level of the collective unconscious is primarily determined by archetypes; the dialectic character of transformations within conceptual and methodological foundations of sociological archetypology through the integration of new components, among which the most significant innovative potential is displayed by the concept of G. Durand involving the need to update the traditional methodology (in particular, through substantiation of methodological psychology and the method of convergence) and introduce into the research discourse additional archetypal symbols (theriomorphic, nyctomorphic, catamorphic, diaeretic, inversion, light-visual and cyclic symbols); methodological parity of ontological and epistemological functions of archetypes; and methodological revision of key concepts and ideas of sociological archetypology from the standpoint of contemporary postmodern sociology, characterized by the actualization of research interest in traditional culture at a new theoretical level (M. Maffesoli). The paper explains theoretical and interpretive trends of modern sociological archetypes, among which the leading ones are the following: polysemy of “archetype” as a concept and debatable interpretation of its definition markers; broad functionality of the concept “archetype”, which represents the trend of research interest actualization in traditional culture; intensification of the national researchers’ interest in deep archetypal foundations of the Ukrainian culture and mentality and in sociological analysis of modernity, mainly to diagnose transformational changes in Ukrainian consciousness and study the psycho-social foundations of contemporary postmodern civilizational identity, which reflects the theoretical continuity of traditional and postmodern interpretation of the essence of the archetype, starting with the Jungian conceptual paradigm; the promotion in the scientific publications of an analytical approach based on the understanding the archetype as the name of a particular type of personality in personology.

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

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

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Akca, Uljana. "The Archetype as Form of Ontological Difference." International Journal of Jungian Studies 12, no. 2 (October 12, 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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Liu, Yingwei, Tao Wang, Ling Zhou, and Chunyan Nie. "Study on Chinese Brand cultural archetype: theory building and cross-cultural comparison." Journal of Contemporary Marketing Science 3, no. 1 (April 14, 2020): 57–80. http://dx.doi.org/10.1108/jcmars-12-2019-0050.

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PurposeThe essence of “Chinese element” has been pinpointed as the representation of national cultural archetype resource of China, which reflects to the overall power enhancement of China. Applying the Chinese national cultural archetype resource, which will be used for promoting the Chinese Brand internationalization, aims for the consumers' approval with the hope of integrating and spreading the unique cultural advantage of Chinese brand. The recognizing of Chinese brand's cultural archetype in this paper has constituted the basis of Chinese brand's cultural archetype strategy.Design/methodology/approachBased on the Grounded Theory, this paper has collected and analyzed the value symbols, character images and theme stories of Chinese narrative advertisements and constructed the cultural archetype framework of Chinese brands. This paper makes a comprehensive application of Charmaz's constructivist analysis and the main axis analysis and inspection method advocated by Strauss, with the aim of building a more objective and systematic theoretical framework for the Chinese brand cultural archetype.FindingsIn this framework, it revealed: (1) Chinese brand's cultural archetype can be divided into 12 concrete archetypes according to individual's relationship with self, the other, community and nature; (2) Consumers' different ways of self-categorization are attributed as the essential difference among various archetypes. This paper also compared and analyzed the differences between Chinese and Western cultural archetypes from three perspectives, formation of social structure, pedigree of myth and character's feature.Originality/valueThis paper has certain innovative significance to the theoretical construction of the archetype of Chinese brand culture. First, based on the cultural perspective, this paper applied the cultural psychological connotation of archetype to the brand research across culture, which is more conducive to the researchers' investigation of the cultural psychology of consumers in the cross-cultural context? Second, based on the identification and comparative study of Chinese brand culture archetype, it provides a new expansion and supplement for the research on brand internationalization and globalization in emerging countries.

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Ghaffarinejad, A., and F. Estilai. "Persian talismans and psychology." European Psychiatry 26, S2 (March 2011): 1054. http://dx.doi.org/10.1016/s0924-9338(11)72759-6.

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Talisman is writing on metal, paper or animals skin which is a collection of diagrams, words, numbers and amazing patterns. Talismans usually are an illegible writings and not comprehensible for everyone.Talismans have had an important role in ordinary life and interpersonal relations of Iranians since the years.These talismans have used for making kindness, removing the evil eye effect, marriage, birth and…Despite, these are not studied scientifically and this question that talismans actually are archetype has no answer yet.Archetypes are a collection of perception and over perception which a group inherits. They are simple pictures and have dynamic process of collective unconscious.In this view, the talismans are a type of archetypes; they are natural process frequently repeat and have relation with inner and outer events of human's life.Major archetypes are Self, Shadow, Anima and Animus. In this article we try finding some of these archetypes in texts and pictures of ancient Iranian talismans base on Carl Gustav Jung psychology by using images and explain them.

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

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

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Hart, David W., and F. Neil Brady. "Spirituality and Archetype in Organizational Life." Business Ethics Quarterly 15, no. 3 (July 2005): 409–28. http://dx.doi.org/10.5840/beq200515327.

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Abstract:Spirituality is an undeniable human need and is thus the subject of increasing interest among management scholars and practitioners. In this article, we propose using archetypal psychology as a framework for understanding the human need for spirituality more clearly because it provides important insights into spirituality and organizational life. Because most spiritual needs reside in the deepest aspects of the self, an archetypal approach helps us recognize not only that we have spiritual needs but alsowhywe have them. We present three common archetypes and their implications in a management context. That is followed by an application of the archetypal approach to some of the more spiritually corrosive aspects of organizational life and a discussion of the implications of archetypes as a source of motivation.

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SERBENA, Carlos Augusto. "Considerações sobre o inconsciente: mito, símbolo e arquétipo na psicologia analítica." PHENOMENOLOGICAL STUDIES - Revista da Abordagem Gestáltica 16, no. 1 (2010): 76–82. http://dx.doi.org/10.18065/rag.2010v16n1.9.

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This article conducts a theoretical discussion between C. G. Jung and other authors to relate and clarify aspects of the concepts of myth, symbol and archetype. On the concept of collective unconscious and archetype of the work of Jung, shows both forms of operation of the psyche: rational and causal to the ego and imaginal and analogic to the unconscious. Thus, the archetypes can be considered as categories of the imagination and are expressed in symbolic form, requiring a comprehensive, qualitative and acting role of mediation between the opposing dynamics through a redundant and repetitive, but improved. This dynamic appears in the ritual, the repetition behavioral level, and in myths, than are a symbolically narrative that mark the beginning of the process of rationalization of symbols. If this process is deepening, becomes the symbol sign and loses its experiential nature and ability to mediate conflicts. The excessive exploitation of rationality in modern thought leads to ignore the sign and thus the person loses the ability to mediate the conflicts experienced in its existence as between himself and the world, feeling their lives empty and meaningless.

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Simurdić, Iva. "An Unlikely Hero: Reconsidering Michael Endeʼs Momo as a Divine Child". Филолог – часопис за језик књижевност и културу 22, № 22 (30 грудня 2020): 262–82. http://dx.doi.org/10.21618/fil2022262s.

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The Divine Child was introduced by Carl Gustav Jung as an archetype closely linked to the process of individuation. Beyond the realm of analytical psychology, this peculiar child figure has been observed in myths and folklore and eventually evolved into a literary archetype known alternatively as das fremde Kind (the strange/alien child). Numerous child figures have since been regarded as representations of this archetype, with the titular character of Michael Ende’s novel Momo (1973) being one of them. While her initial appearance is evocative of the Divine Child, over the course of the story Momo has to accept her fate as the chosen one in a battle against a mysterious foe, ultimately finding herself in the role of the hero of the story. This paper examines the traits of both the archetype of the Divine Child, as well as that of the Hero – including a variation specific to child characters – with the goal of reconsidering if Momo is truly exemplary of the archetype of the Divine Child. This is done with particular regard to Christopher Vogler’s observation that literary archetypes are character functions, rather than fixed types, and as such this paper will discuss how Ende’s protagonist is ultimately an example of this fluidity of functions.

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Badalov, A. A., S. N. Brovkina, M. R. Arpentieva, S. S. Kalinin, and G. K. Kassymova. "The Archetype of Intellectual Activity: A Modern Methodology for the Description of the Protophenomenon." Клиническая и специальная психология 9, no. 1 (2020): 1–16. http://dx.doi.org/10.17759/cpse.2020090101.

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Modern clinical psychology focuses on the problems of the culturological layer, the cultural background and consequences of the formation and development of productive and destructive anomalies, including the abnormal aspects of creative giftedness, the associated and accompanying anomalies of behavior, values expressed in deviations, borderline states, psychoses and somatoses. Endowment with its considerable diversity is a universal phenomenon. Moreover, and like any universal, it can be understood and described in the unity of its cultural, social, psychological and physiological aspects. The article discusses the basics of the organization of the archetype of intellectual function from the standpoint of historical and culturalological genesis. The wide mythological context of the formation of properties, attributes, and symbolic identification inherent in the archetype of the intellectual function is discussed. The statement is postulated that archetypal structures are not only a priori existing mechanisms of cognition from the point of view of the formation of an individual’s mental experience at an early age, but also affect all subsequent processes of development of a person’s cognitive functioning in norm and clinical situations. The concept of “Icarus complex” is introduced as the desired anthropic form of the archetype under study and as a promising model for further research in clinical psychology.

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Kreinheder, Albert. "The job archetype." Psychological Perspectives 17, no. 2 (September 1986): 252–54. http://dx.doi.org/10.1080/00332928608408738.

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

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

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Smith-Marder, Paula. "The Rat as Archetype." Psychological Perspectives 43, no. 1 (January 2002): 50–64. http://dx.doi.org/10.1080/00332920208403530.

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Smith-marder, Paula. "The Pig as archetype." Psychological Perspectives 35, no. 1 (March 1997): 110–19. http://dx.doi.org/10.1080/00332929708403318.

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

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

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English, Linda G., and Charles A. Weiner. "Story, archetype and healing." Journal of Poetry Therapy 19, no. 1 (March 2006): 31–39. http://dx.doi.org/10.1080/08893670600565629.

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

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

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

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

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W. Salter, Daniel. "An Archetypal Analysis of Doctoral Education as a Heroic Journey." International Journal of Doctoral Studies 14 (2019): 525–42. http://dx.doi.org/10.28945/4408.

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Aim/Purpose: The purpose of this conceptual paper is to align key aspects of the heroic journey archetype with existing research and writing about doctoral students, thereby extending previous discussions of this topic. Background: While obtaining a doctoral degree is often described as a heroic journey, that assertion has not been fully explored from a depth psychology standpoint. Because myth is a form of pedagogy, key heroic archetypes (Pearson, 1986; 1991) provide a means to describe and understand the student experience. Methodology: This synthesis of the scholarship on doctoral education is framed within an alignment of the heroic journey monomyth described by Campbell (2008) to the progression of doctoral student experiences (Gardner, 2009). Various movie characters are used to illustrate the three primary stages of the heroic journey: the departure, initiation, and the return. Contribution: Consistent with other applications of archetypal psychology to education (e.g., Mayes, 2010), the paper presents a way for faculty and students to understand and reflect on the overall educational process. Findings: A more elaborated view of the doctoral journey is provided, including the sequence of challenges faced by students in the process and the types of Hero energies expressed at different points. Recommendations for Practitioners: The responsibilities of doctoral program faculty to create an experience that helps assure success and to mentor students appropriately are reinforced. Recommendation for Researchers: While not a research study, the discussion in this conceptual paper provides a broader context for use of the monomyth as an organizing framework for studies of doctoral education. Impact on Society: The commonly recognized 50% success rate of the best-and-brightest in higher education speaks to the size and scope of the challenge and the resulting stresses from taking this journey. Based on the apparent congruency of the monomyth to the process of doctoral education, continued use of this archetype to address these challenges would seem to be indicated.

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HOCHMAN, JOHN. "The Divine Archetype: The Sociobiology and Psychology of Religion." American Journal of Psychiatry 149, no. 7 (July 1992): 974—a—975. http://dx.doi.org/10.1176/ajp.149.7.974-a.

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Boe, John. "Metaphor, Thought, Projection, and Archetype." Psychological Perspectives 48, no. 1 (January 2005): 68–83. http://dx.doi.org/10.1080/00332920591001591.

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Denton, Donald D. "Empathy and Archetype: The Structure of Healing." Journal of Pastoral Care 46, no. 3 (September 1992): 227–36. http://dx.doi.org/10.1177/002234099204600302.

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Presents a theoretical synthesis of object relations theory and Jungian psychology. Utilizes clinical vignettes, the writings of major theorists, and biblical material to illustrate ways in which the dynamics of transference, countertransference, and ESP-like experiences may be indications of the synthetic process at work within both therapist and client.

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Roesler, Christian. "Are archetypes transmitted more by culture than biology? Questions arising from conceptualizations of the archetype." Journal of Analytical Psychology 57, no. 2 (March 23, 2012): 223–46. http://dx.doi.org/10.1111/j.1468-5922.2011.01963.x.

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Demessinova,, L. M. "Madame Bovary: philistinism or the archetype of the wild woman." Bulletin of the Karaganda University. Philology series 101, no. 4 (December 30, 2020): 67–72. http://dx.doi.org/10.31489/2020ph4/67-72.

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The article is devoted to the problems of the female archetype, the light and dark side of women, which has become the basis for artistic works since ancient times. In the study are subjected to comparative analysis critical views about the image of Madame Bovary. If in previous studies the heroine is considered as a sinner, then in this article the authors proceed from the inner world of Madame Bovary and explain the reasons for Emma's behavior and psychology from the point of view of the female archetype of the «primordial woman». In the course of the work, methods of comparison and systematization based on the concepts of scientists were used. Guided by the types of female archetype presented in the works of C.G. Jung and C. p. Estes, the image of Madame Bovary is analyzed by the authors as a new type. The opinions of the founder of the term «archetype» C.G. Jung about the archetype and his conclusions about the female archetype became the theoretical basis of the research. The scientific concept of K.Р. Estes when compared with the text of the novel helped to identify deviations and oddities in the behavior of the main character. In the article, the author tries to reveal the image of Madame Bovary in her different guises.

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Maidenbaum, Aryeh. "The Golem of Prague: An Archetype." Psychological Perspectives 64, no. 2 (April 3, 2021): 201–10. http://dx.doi.org/10.1080/00332925.2021.1959209.

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Nevin Welsh, Sarah. "Archetype X: Visible and Invisible Otherness." Psychological Perspectives 61, no. 4 (October 2, 2018): 517–28. http://dx.doi.org/10.1080/00332925.2018.1536510.

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STEWART, LOUIS H. "A Brief Report: Affect and Archetype." Journal of Analytical Psychology 32, no. 1 (January 1987): 35–46. http://dx.doi.org/10.1111/j.1465-5922.1987.00035.x.

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31

Watson, P. J. "The Divine Archetype: The Sociobiology and Psychology of Religion (Book)." International Journal for the Psychology of Religion 1, no. 1 (January 1991): 63–67. http://dx.doi.org/10.1207/s15327582ijpr0101_8.

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32

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

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

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Burke, Joseph W. "The Rainmaker's Reality and the Holographic Archetype." Psychological Perspectives 50, no. 1 (May 30, 2007): 6–30. http://dx.doi.org/10.1080/00332920701319467.

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HUBBACK, JUDITH. "The Changing Person and the Unchanging Archetype." Journal of Analytical Psychology 35, no. 2 (April 1990): 111–23. http://dx.doi.org/10.1111/j.1465-5922.1990.00111.x.

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Browning, Don. "The Divine Archetype: The Sociobiology and Psychology of Religion. Brant Wenegrat." Journal of Religion 73, no. 2 (April 1993): 303. http://dx.doi.org/10.1086/489175.

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36

Tait, Pamela. "The Kore: My Experiences with the Maiden Archetype." Psychological Perspectives 53, no. 2 (June 17, 2010): 175–88. http://dx.doi.org/10.1080/00332921003780679.

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37

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

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38

Lee, Youngjae, and Ilho Park. "A Study on the Symbol of Self Archetype Appeared in E. Munch’s Series of <The Sun> in the Light of Jung’s Analytical Psychology." Korean Society of Culture and Convergence 44, no. 5 (May 31, 2022): 1175–90. http://dx.doi.org/10.33645/cnc.2022.5.44.5.1175.

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Edvard Munch is an important artist representing modernity in the world art history. This study aims to analyze Munch’s paintings in the latter half of his life by using Jung’s theory of analytical psychology, and to see how the artist’s self-realization process appears through symbols in the paintings. By comparing the symbolism of the sun and mandala represented in a series of works in his later years, <The Sun>, this study examines Jung’s individuation, and the archetype and symbolic theory of self-realization. It deals with <The Sun>, a series of works created in the second half of his life, not those created in first half of his life. <The Sun> was influenced by post-1910 vitalism. In this study, the works are studied in two aspects: content and form. The artist’s inner world is discovered through the analysis of the content, and in terms of the form, the color, form and composition are compared with mandala. In addition, by comparing the symbolism of the sun and mandala, Jung’s individuation and self-realization are considered along with archetype and symbolic theory. From the perspective of Jung’s analytical psychology, Munch is thought to be aware of his unconsciousness and be able to heal his inner side while understanding and accepting it. This series of processes is revealed through symbols, and expressed in works. In other words, it can be seen that his later works show the realization of his self through integration of his internal personalities. Works with a tendency toward expression symbolism, like Munch’s, can be sufficiently interpreted through Jung’s theory of analytical psychology. This is because works using symbols representing the archetype of the unconscious as the driving force of creation show the artist’s self-realization process. In the future, the author of this study looks forward to having opportunities to analyze many other works and artists through analytical psychology.

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Alvares Bíscaro, Regina. "Epigenetics and the return to the great mother archetype." Journal of Analytical Psychology 67, no. 2 (April 2022): 445–54. http://dx.doi.org/10.1111/1468-5922.12783.

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40

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

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

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Shamas, Laura. "Aphrodite and Ecology: The Goddess of Love as Nature Archetype." Ecopsychology 1, no. 2 (June 2009): 93–97. http://dx.doi.org/10.1089/eco.2009.0004.

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42

Malej, Izabella. "Błok i Jung: inflacja ego („Wiersze o Przepięknej Pani”)." Studia Interkulturowe Europy Środkowo-Wschodniej, no. 14 (November 22, 2021): 109–34. http://dx.doi.org/10.31338/2544-3143.si.2021-14.5.

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According to depth psychology, whose pioneer is C.G. Jung, inflation is an emotional state, most often triggered by a dream, manifested by an increase in sexual urge, a feeling of higher energy, power and fascination. Ego inflation can have a dual effect on the individual who experiences it: positive, which is associated with the possibility of establishing contact with archetypes as elements of the collective unconscious, and negative, leading to a sense of possession. In both cases, which often occur together, the key to understanding this unique state of psychic energy is contact with symbols, previously latent in the psychic genotype. In the creative process, as well as in crucial moments of life, the ego acquires the special privilege of insight into the unrecognised realms of the unconscious, which leads to a kind of emotional explosion, a feeling of ecstasy. The ego of the creator, stunned by new possibilities and filled with psychic energy, undergoes excessive growth, “swelling”. Carl Jung calls this state being possessed by the unconscious complex. In the case of Alexander Blok, one can speak of being possessed by the archetype of the Eternal Feminine – Anima, which is proven in the cycle Verses About the Beautiful Lady (1901–1902). The symbol of the Beautiful Lady unites within its archetypal structure various kinds of psychological oppositions (consciousness and unconsciousness, inner woman and inner man, ecstasy and fear). The Beautiful Lady as the numinous element of the poet’s psychic structure acquires the status of an energetic dominant or the centre of the unconscious.

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Vrbata, Aleš. "Carrie B. Dohe: Jung´s Wandering Archetype. Race and Religion in Analytical Psychology." Philosophica Critica 5, no. 1 (June 15, 2019): 73–79. http://dx.doi.org/10.17846/pc.2019.5.1.73-79.

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44

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

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

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Barcellos, Gustavo. "Madness is other people: alterity/ipseity and the sibling archetype." Journal of Analytical Psychology 67, no. 1 (February 2022): 45–54. http://dx.doi.org/10.1111/1468-5922.12749.

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Phoenix, Evin Eldridge. "Goddess Consciousness: The Power of Inanna as Revolutionary Ecofeminist Archetype." Psychological Perspectives 62, no. 2-3 (July 3, 2019): 193–208. http://dx.doi.org/10.1080/00332925.2019.1627145.

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Vendina, Tatyana I. "Dialect Word as “Archetype” of Russian Culture." Slavic World in the Third Millennium 14, no. 1-2 (2019): 125–39. http://dx.doi.org/10.31168/2412-6446.2019.14.1-2.8.

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The article analyzes the problems of anthropological linguistics. In the last decades, the ideas of anthropological linguistics have been actualized, which contributed to the revival of interest in Alexander von Humboldt’s idea that a language is “activity of national spirit.” It focuses on the study of the manifestations of the “human spirit” in language, customs, rituals, myths – in other words, the analysis of the processes of perception, knowledge, thinking, and man’s emotional attitude to the world. Language as “activity of national spirit” in accordance with the direction of anthropological linguistics is considered both as a tool of mental ordering of the world and as a mirror of ethnic worldview. Before linguistics opened a new field of research related to the hermeneutic study of language, which allowed us to move from empirical data to their interpretation analysis, i.e. to rise from the level of registration of facts to the level of their explanation. From linguistics “in itself and for itself” (F. Saussure), it turned into a “why/why-linguistics” (A.E. Kibrik). And in this transformation of interpretative linguistics, cognitive science has a special role and gives cultural, ethno-psychological, and historical explanation to the linguistic facts. The author believes that an adequate description of the nation’s psychology and its culture should be obtained based on the data of their language. Appeals to authorities’ opinions in the field of literature or philosophical thought are not convincing, because it is always a point of view from the outside, which is subjective. According to the author, it is necessary to abandon the imposed assessments and penetrate into the ideology of language. Moreover, the success of cognitive-oriented linguistics suggests that the language structure is not arbitrary and it is significantly motivated by the organization of cognitive structure, which is reflected in the mirror of natural language. Using a lot of dialect material, the author proves that by studying the dialect word we will be able to understand not only the archetype of our culture, but also its true essence. The author illustrates this position on the example of such basic concept of Russian traditional culture as WORK. The analysis of dialect material in the proposed perspective allowed to critically assess the negative perception of the Russian people, who are allegedly characterized as lazy and passive. According to the author, WORK is not just an activity, but an ethically significant activity, which is still determined by the Russian mentality, so the idea that Russians do not accept hard work is denial of the moral basics of their life.

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Caetano, Aurea Afonso M., and Teresa Cristina Machado. "Archetype and epigenetics – approximations: contributions of epigenetics to the clinical practice of analytical psychology." Journal of Analytical Psychology 67, no. 2 (April 2022): 501–17. http://dx.doi.org/10.1111/1468-5922.12799.

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49

Bishop, Paul. "Book Review: Carrie B. Dohe: Jung’s Wandering Archetype: Race and Religion in Analytical Psychology." Journal of European Studies 47, no. 1 (March 2017): 77–79. http://dx.doi.org/10.1177/0047244116687968c.

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50

Urban, Elizabeth. "The ‘self’ in analytical psychology: the function of the ‘central archetype’ within Fordham's model." Journal of Analytical Psychology 53, no. 3 (May 20, 2008): 329–50. http://dx.doi.org/10.1111/j.1468-5922.2008.00730.x.

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