The aim of this article is to reveal with an overall approach, how the psycho-social background, starting from woman image in first periods and reach modern day, is embraced by outstanding theorists of modern psychology, and also how these collected works are reflected in their definitions of woman. If it is considered that woman has been discussed with reflections against and not from primary sources throughout history, it can be seen that the most essential roots of woman narrations can be (...) found in oral culture and the parts of written texts are made over symbol, metaphor, proposition and story. However myths (stories) that take place in oral and partly written culture about primitive man, are sacred tales, they will also present data regarding human image. Therefore with a limited effort of human being to understand the infinite, it can be understood what human being think, feel and how they interpret rather than gods/goddesses ontology. From this point of view, this article that consists of two parts, first of all will mention especially about perception of Goddess in those reflected to image of God, maintaining its efficiency in conscious or unconscious as a system of symbols intrinsic to human nature and cultural code background and then the woman image will be roughly discussed with a descriptive style over the world of mythology, psychology and faith. In the second part, it will be examined in detail how all the written and oral information about understanding woman by modern anthropologists are interpreted with the perspective of modern psychology specific to theorists such as Freud, Jung and Fromm. Eventually, it will be emphasized that past and future are integrated with information, experience and feelings with an active relationship; perception and approach of woman have stayed up to date in time continually; mythology, psychology and religion are important factors within this matter.Summary: Human being has also used historical, temporal and spatial attributions for God. Infinite human being has expressed their thoughts about the finite God by analogy. Despite the dominance of male gender in the images of God in these analogies which are the products of human experience, female Gods that is to say Goddesses are not few. The matter of how the image of goddess come to the fore in a distinctly male-dominant society is a noteworthy matter. The narration of Earth Mother over female symbol in myths in which the harmony is constantly secured within the inner and exterior world and mention about living in harmony with the universe is an important data in order to understand female characteristics attributed to God. Human being has also used historical, temporal and spatial attributions for God. Infinite human being has expressed their thoughts about the finite God by analogy.The woman subject is influenced by transferred life experience within the historical process, and it is an undeniable fact that ancient “woman perception” has reflections to the present day. Within the history of humanity, striking definitions about woman can be seen in sacred statements in symbol language. Therefore, it is proper to examine primarily the image of sacred and then examine female meaning that is charged on that image. The aim of this study can be summed up with two themes: a) try to understand the general framework of reflections of the present image of woman, style of narration and comprehension in psychological, sociological, and religious terms by getting help from myths which mention about ancient image of God, although there is centuries old difference between those stories and us, b) reveal the image of woman in Freud, Jung, and Fromm’s approach which establishes a bond between mythology that is a system of symbols special to human nature and human psychology and discuss this subject by using psychology of religion.When reviewed ancient Far East and Middle East myths and also Ancient Greek mythology, it can be seen that gods are not cloistered supernatural beings who do not have abstract personalities and also do not lead a wholly metaphysic life. The crucial issue here is; the reality that Gods and Goddesses are shown as a model to both man and woman. Psychologists who examine religion in terms of psychology state that first outcomes about the image of God come up not with behavior but with emotion. The attributions of gender, related to the emotion in question are cited during the transfer of those emotions as well. Therefore; philosophers, culture and religion historians, theologians, anthropologists, archaeologists, psychologists, and sociologists have contributed to this transfer when they discuss the cult of God or Goddess throughout the history. It is interesting that the usage of the term of God maintains while the usage of the term of Goddess decreases. Civilization historians claim that the appearance of divine religions particularly quickens the course of transition from goddess to god. According to them, during this period in which there is a transfer from polytheist image of God to monotheist image of God, the quantitative change in the perception of God comes with a qualitative change. According to Fromm, during this power gathering period, there has been a transfer from mother and feminine (woman) centered religion to father and masculine (man) centered religious experience/ God image. According to him, in the second stage of humanity development, “the children of Earth Mother turn into the children of divine father”, there is a transition from unconditional love of mother to authoritarian sympathy of father, from an image of supplemental and surrounding Goddess to authoritarian image of God who makes requests by his nature, lays down principles and laws, and supports the power and search for a successor to deliver the power.The perception of women who led to Prophet Adam deviated from the truth and expelled from heaven is spread around especially the regions of one-God religions. This has strengthened the idea that divine religions have a negative view towards women. Including Islam, the reason of all divine religions’ encountering with claims that they have a negative approach against woman stem from applying to that religions’ human resources rather than essential religious sources which are existing or lost earliest forms.Oedipus complex is an important thesis of Freud which explains the development of religion and morals; establish the base of his psychology, and in fact, important in terms of his making connection with difference of kinds and flow or non-flow of request and needs while explaining human behaviors. According to Freud who points to sexuality and aggression which are the most powerful two instinct in the biology of male or female; the first three or five years of a newly born human- this is the period in which the basic part of personality is formed- the definition of self is extremely influenced by his/her gender (in both biological and sociocultural terms). Freud who put forward father-son conflict in the struggle to survive between Zeus and his sons in Moses and Monotheism (1998c) and Totem and Taboo (1998a), makes an explanation about the origin of religion and humanity over two male characters. Jung pays attention to goddess image as much as the image of god and do not approach this situation only as a polytheism or sociocultural explanation or childish appearances of a primitive mind. He accepts goddesses as a reflection of archetypes in human. Male has a feminine side, female has a masculine side, and a unity occurs when both complete each other. According to Fromm, a taxonomy referring to woman and man is primarily a sociology-based approach rather than a biology-based one. Fromm (1995) thinks that the whole depiction shows individuals’ own desire and needs, that is to say, their psychology rather than a theology. Transition from mother (woman) centered religion to father (man) centered religious experience and God image is essentially one of the most important breaking/inversion points of human being, not humanity. As a result, it can be said that it is an important point to clearly understand the story of mankind to examine that intense freshness at hand and centeredness of quantitative and qualitative changes of divine or God image of ancient societies come down after psychological, sociological, religious, economic, political, and cultural changes. (shrink)

This study examines how audiovisual brand stories both invite and enable consumers to enact heroic archetypes. Integrating research on the archetypal structure of narratives with research on the event structure of narratives, we distinguish singular plot stories (i.e. stories that show a Hero’s Journey) from embedded plot stories (i.e. stories that not only show but also tell one or more Hero’s Journeys) and develop a conceptual and narratological framework to analyze their structural elements. Application of the framework to (...) 20 brand stories representing 8 different brands reveals meaningful variation in elements between the singular plot stories and embedded plot stories. Differences in the expression of archetypes and event structure are argued to evoke different types of Hero enactment which in turn result in different outcomes. We specifically hypothesize that the enactment of heroic archetypes in singular plot stories primarily results in catharsis (pleasure), whereas the enactment of heroic archetypes in embedded plot stories primarily results in an outcome we describe as phronesis: a form of moral sense making of the self that advances one’s practical wisdom and prudence. The final section of the paper discusses how cathartic and phronetic outcomes of hero enactment may foster the psychological bonding between brand and consumer, and invite consumers to align their moral values with the values that are reflected by heroic character traits. The central aims of the analysis presented are to provide an exploration of narrative phenomena in a reasonably broad range of brand story videos and foremost to provide a conceptual framework with an applicable instrument suited to analyze relevant categories in these brand stories. The present study is interdisciplinary in its approach to a contemporary, developing marketing phenomenon, applying psychological modeling of archetypes and heroic values with narratological insights on perspective-taking and story structure. Its contribution is to systemize, from a narratological viewpoint, how various narrative archetypes in brand video stories may contribute to the development of brand-consumer relations. (shrink)

Sometimes I think: I'm flying. And why am I flying? Because of the dress. The flesh, I think, is multiplying itself. Here are the children, I think, going away from me and coming to me. If all is one, I think, why this split?My body of thought is likewise made of a womb of wombs. Whatever it begets begets its own body [in this sense I may be said to be multiparous].I am beautiful like a snip of ivory. My face (...) is like the negative of another woman's face. Whatever she does I do moving backward.I spread a hundred fingers up against the wind and the wind dries the lacquer. At these parties I have no given name. I may be called Flora and I may be called Rosamund. The images of color that I set up in space redeem me.In the morning. After the dreams. I see the white body stitched in bed. My corporal body. The veins that store the precious fluid. What I think have they hauled up there from the deep?I get up as in the miracle that Our Teacher Rabbi Loew worked upon a lump of clay and turn on the stove.Sometimes the light bounces off of forks and knives into the eyes. The light of the fork into the eye of the fork and the light of the knife into the eye of the knife.What am I what am I I am thinking flattening out knives and forks on those wooden headstones they call a table?The bread is the showbread and the butter is the clot of my blood. What are they looking for in these blue thighs?The kitchen windows [as in the ancient Icelandic language] are the wind's eye. This is the house and these are the children's table-napkins.... Now. When everything is in place. I am waterboiling. Water pours out of the mouth of the tap into the mouth of the kettle and I am thinking about these hairs that I have. About the hundreds of thousands of fine threads that rise at night in utter silence from the skin. The walls close in on me but my head. As in the Book of Creation. Extracts from nothingness black streams.Through the drinking glasses I see a great field of ice. A white antelope eating a fish.... What am I with a round shoulder and milk muttering prices of chemicals. The cash registers cut the boundaries of my skin.In supermarkets with thousands of tins of canned peas ought to ambulate people covered with hair. Let them block one another's cart like they once did in the hippodromes of Byzantium.Let them speak—with those colorful rags that they tie around their necks—into mouthpieces of telephones. Let their voices run crisscross like stifled crow calls between wires inside the earth. Why have they enclosed me—I, who can cover entire fields like Bermuda grass—within the confines of an electric bell?At 7:20. As if down the ladder of angels painted by Raphael. The child descends the wooden staircase. His toes are depressed precisely according to the divine image of grief. Each toe and its mirror reflection in the other foot.The forest creatures on the pajama fabric with their mouths gaping open as in the sudden vision seen by our primogenitor when they spread the coat of many colors before him and said: Surely he has been torn to pieces.... When the child turned inside me and stood in the placental fluid with his head to the ground, the two of us were the complete converse figure. One head toward the outer boundary, the other head toward the middle point.It was unnatural how the head emerged. Why did it pierce the membrane in which it was enfolded and discharge the water?Windows previously shut were torn apart. Lids of cookware dropped to the floor. This rupture [Michael. Michael.] gave birth to unreason.The child [in my imaginations he is chasing gadflies] is sitting at the table waiting for his cornflakes. He is eating them flake by flake and inside every flake are little crystals of sugar.This game [being able to hold shreds of sugar inside tiny dents] fills his heart.... The light that radiates in every thing is the light of late autumn. I play with it the age-old game. Ask for its name and it replies.The kitchenware too bear their names [just as they bear the form].... I can write an inner play about The Non-Intervention of Time in Kitchenware. Time will get the leading role.In Act One it will set out [like Ulysses] on a journey. The kitchenware will stay put, each ware in its respective place, within daily life.In Acts Two and Three time will travel so far that one or two wares should drop out of place.Act Four will be called Fatal Incidence and Act Five, The Return of Time.... I shout [an inner shout] Dolores Dolores as if I had a friend whose name were like that.How do you do Dolores [I say in my heart] and exchange recipes for dresses with her.Then Dolores sets out in both directions at once. The direction of the great bird in the sky and the direction of Nachlat Binyamin St.... I can see [by means of two mirrors] my silk dressing gown.The silk dressing gown enfolds me and prepares me for verbal exchange. It enables me to communicate information. If it slides down I kneel down until it slides up [and then I kneel down].... When I think of recollection I wonder how the image of myself gets duplicated.The bathtub gets duplicated and the light above the bathtub. Time sends a facsimile of itself.In the black margins outside the sheet of paper hides my mother. Come out come out she is calling to me like you would to a snail.At that time were created the archetypes of things.The complete washbasin. The complete mirror. Next to every sound was inscribed the right clef.Every movement was a perfectum mobile: I jump and by force of this jump I jump again.... Through the window I see the crow called Salpeter.Good morning Old Salpeter. Did you get your black robe back from the dry cleaner?Sometimes you see me obliquely from the right and sometimes obliquely from the left. What am I? A very strange female crow?I adore your rich language. This single word of yours that has in it all the verb stems.... What is so logical about the sky? The window frame.The window frame is like the twelve apostles. Three in each lintel and in their midst [behind the nebula] is sitting the child Michael.The motion of a doll turned over and the motion of the trains sent by him flying in the air are the divine edict. Get'p get'p he tells me all of you and go'ver there.... See Dolores how simple everything is: There is the kitchen. There is the child. There is the wooden staircase.Whom are we to thank for this grace. The colors are so right Dolores and the shapes precise. Every thing I spell out is cut with utmost perfection for the space allotted to it and for the sequence of time.... My biography may easily be canceled.First cancel the alienation. Then cancel the kneeling in the dark. The joy of the assigned date. The bridal veil and the porcelainware.If a medical ground is required I can say I have edema.... I like the words earth quake.Sometimes I think the earth is quaking and the words are not and sometimes the words are quaking and the earth is not.The great catfish know the earth is about to quake and the Chinese who paint the words with a fine paintbrush six lines for the earth and fifteen for this quake set guards to watch the great catfish who knows what is about to take place.... As if after a very severe accident I have to practice life anew.My physiotherapist tells me: Now a slight movement with the right hand. Now a shake of the head.I learn to press handles. To turn sharply in this or that direction.Lately when they ask me anything I pretend that the reply answers the question.Look Dolores how I refute the theory about the formation of species:I take a bubble of soap from the sink and elevate it to the sun.... There is a thing Dolores and it is infinitely good and I shall not tell you what it is.You can hear it in the first hours of the night when darkness is gaping. It has the property of withdrawing into a point tiny as a tittle.Or you can search for it in places where there appears to be something and there is not. (shrink)

The broad outlines of Joyce's narrative are of course strongly Homeric: the three parts, with Telemachus' adventures at first separate from those of Ulysses, their eventual meeting, their homeward journey and return. Equally Homeric is the account of a heroic traveler picking his way among archetypal perils. That the Odyssey was an allegory of the wanderings of the soul had occurred to Joyce as to many before him, and he had long since designated the second part of a (...) book of his poems as "the journey of the soul" . He had also construed Stephen's progress in A Portrait as a voyage from Scyllan promiscuity in chapter 4. Although in Ulysses he diverged sharply from Homer in the order of events, Joyce clearly adapted the Homeric settings and what he chose to consider the prevailing themes. He found the Odyssey beautifully all-embracing in its vision of human concerns. His own task must be to work out the implications of each incident like a Homer who had long ago outlived his time and had learned from all subsequent ages. Joyce once asked his friend Jacques Mercanton if God had not created the world in much the same ways as writers compose their works; but he then bethought himself and murmured, "Perhaps, in fact, he does give less thought to it than we do." Neither God nor Homer could compete with Joyce in self-consciousness. Richard Ellmann, Goldsmiths' Professor of English Literature at Oxford University, received the 1960 National Book Award for his definitive James Joyce: A Biography. He has written extensively on Joyce and other modern writers, edited work by and about them, and examined the theoretical implications of biography in Golden Codgers. "Joyce and Homer" is a selection from his book, The Consciousness of Joyce, published by the Oxford University Press. (shrink)

The article is an attempt at a philosophical interpretation of the literary text. Its task is to identify the principles of the human self, which are presented in classical literature, in Homer’s “Iliad” and “Odyssey” and Dante’s “Divine Comedy”. The study provides an analysis of the archetypal narrative structure to which the model of human development with three components is applied. The correspondence of the heroes to this typology, which is not the final measure of the human, but resembles (...) the “ideal types” according to Max Weber, has been traced in the research. The dynamics of the development of the inner world of a human being, which corresponds to the plot of the journey, is analyzed. That is not a journey only in physical space, but an inner path too that a person overcomes in a gradual process of self-awareness. It has been found that the works of Homer and Dante can be interpreted as not implying a developed and independent personality. On the other hand, the characters demonstrate the key factors of change that occur within the one who forms the traits of self-sufficiency. The study succeeds in constructing a psychological map that allows outlining not a stable type, but rather different personality horizons. There are certain human aspirations of the man to be the creator of the self. However, such motivations involve not only a number of arbitrary manifestations of human beings but also the establishment of a measure for themselves. Initially, these intentions are carried out without self-absorption, reflection, and self-assessment. After all, unrestrained and unbalanced human temperament for a long time remains subject to higher forces and is significantly limited by this supreme power. Nevertheless, a human eventually comes to the need for self-knowledge and establishes a balance between rational and unconscious manifestations. People succeed in getting out of the circle of self-forgetfulness by overcoming various forms of alienation, loneliness, narcissism, self-contradiction, negligence, arrogance. Self-control is achieved by truth about oneself, overcoming fear, recognizing the effects of temptation and passion. The human attitude to the Other becomes possible due to freedom and love as cardinal manifestations of the active component of the self. (shrink)

John C. Altmann decides whether Dracula can really be blamed for his crimes, since it's his nature as a vampire to behave a certain way. Robert Arp argues that Dracula's addiction to live human blood dooms him to perpetual frustration and misery. John V. Karavitis sees Dracula as a Randian individual pitted against the Marxist collective. Greg Littmann maintains that if we disapprove of Dracula's behavior, we ought to be vegetarians. James Edwin Mahon uses the example of Dracula to resolve (...) nagging problems about the desirability of immortality. Adam Barkman and Michael Versteeg ponder what it would really feel like to be Dracula, and thereby shed some light on the nature of consciousness. Robert Vuckovich looks at the sexual morality of Dracula and other characters in the Dracula saga. Ariane de Waal explains that "Dragula" is scary because every time this being appears, it causes "gender trouble." And Cari Callis demonstrates that the Count is really the Jungian Shadow archetype--with added Shapeshifter elements--in the journey of Mina Harker, heroine/victim of Stoker's novel, from silly girl to empowered woman. (shrink)

This article and associated short film, entitled Threshold, explores the phenomenon of house as a Cartesian construct of rational cultural detachment, set in binary opposition to the indigenous understanding of nature as connected and sacred. Threshold focuses on the liminal in-between zones of a house – its doors and windows – which both separate and join the inside/outside domains – without belonging to either of them. The film explores the liminal act of crossing this ontological threshold – representing it cinematically (...) as a vibrational, ocular/aural wavering between two ‘worlds’. The intention is to destabilize this duality on an emotional level – in order to interrogate its validity. This strategy references anthropological theory, which asserts that the liminal act stimulates the limbic system containing ancestral, instinctual deposits. The function of the limbic system (part of the triune brain model) accords with Jung’s theory of the collective unconscious – which views the house as an archetypal symbol, central to the meaning of dreams – in representing the psyche of the dreamer. Threshold attempts to invoke this and other archaic symbols as the camera journeys through its interior spaces, discovering its material culture artefacts, which reflect the psychic state of its inhabitants. The paper explores the indigenous belief that there is a mystical (unitive, transformative) relationship existing between space and acoustics that can only be fully appreciated through an emotional experience with it. The adoption of an arts interventionist approach, can, the article will argue, provide an important contribution towards our expanded understanding of Space and Place as an embodied, emotional-cognitive act. (shrink)

Old stories, rather than being a means to shorten the long winter nights or make children's eyelids heavy, were the hidden treasures of peoples’ social and psychological history. They contained, more than anything else, archetypal motifs which were expressed through various symbols. One such old stories was SamakAyyar which appeared in the north-eastern region of the Iranian plateau. The initial narrators of SamakAyyar were most probably the Aryan branch of the Indo-Aryan settlers. The fact that Aryans were neighbouring the (...) Hindu cultures on the one hand, and the common ancestors as well as ideas of the two nations on the other, resulted in the footprints of Buddhist beliefs and Hindu rituals in this story. The influence of these beliefs can clearly be observed in the description of the buildings which appear in the story.Suchbuildings become sacred due to their association with the story plot, i.e. the journey from childhood to maturity. Whether a prison, palace or a castle, the structural image of these buildings, generally and frequently, resemble the Hindu temple. It seems as though such similarity follows the same sense as that in the construction of sacred buildings, especially Hindu temples. The inner journey, moving in circular directions, and the relationship between heaven and earth are instances of this holy meaning. Such concepts are discussed in the analysis of the symbolic meaning of the buildings in the story. (shrink)

Reclaiming the Wild Soul takes us on a journey into Earth's five great landscapes - deserts, forests, oceans and rivers, mountains, and grasslands - as aspects of our deeper, wilder selves. Where the inner and outer worlds meet we discover our own true nature mirrored in the Earth's wild beauty and fierce challenges. A powerful archetypal model for transformation, the "soulscapes" return us to a primal terrain rich in knowing, healing, and wholeness. To guide our path, each soulscape (...) offers up wisdom in the form of soul qualities the modern world often undervalues and even undermines. We see how deserts model simplicity and silence, how forests help us make peace with uncertainty, how rivers and oceans reveal the power of flow, how mountains inspire our highest purpose, and how grasslands teach us about giving back. Weaving personal story with poetry, imagery, and explorations, Reclaiming the Wild Soul is simultaneously self-help and a courageous call to action. It is written for all those disillusioned with our hyper-paced, high-tech world, who decry what we are doing to the Earth, who feel the tug of their own wild souls longing for discovery and mystery - a new, yet ancient, way of being human. (shrink)

This essay is an interpretation of Nietzsche’s enigmatic idea of the Eternal Return of the Same in the context of his life rather than of his philosophy. Nietzsche never explained his ‘abysmal thought’ and referred to it directly only in a few passages of his published writings, but numerous interpretations have been made in secondary literature. None of these, however, has examined the significance of this thought for Nietzsche, the man. The idea belongs to a moment of ecstasy which Nietzsche (...) experienced during the summer of 1881 in Sils-Maria, in the Swiss Alps. Like Dante, in ‘the middle of life’, he walked down the wooded Alpine slope and entered his own Inferno. On the anniversary of long-buried loss and pain, his psyche was temporarily flooded by archetypal imagery. This event is interpreted in the light of Freud’s theory of repetition compulsion, the uncanny, and the oedipal confrontation with the unconscious. From the turbulent and frightful experience, a symbol of transfiguration emerged in the shape of Eternal Return. Its likeness to Mandala, a Jungian archetype of wholeness and the self, is striking. In the years that followed, Nietzsche produced his greatest works that assured him an unassailable place in Western philosophy. And yet, there was something disturbing about this dream-thought, and Nietzsche shuddered at any mention of the thought. Linking it with the head of Medusa in his unpublished notes, he hinted at its petrifying quality. The beguiling beauty of Medusa makes her an ambiguous symbol of exhilaration, as well as terror. Under her captivating gaze, a hero’s journey towards selfhood becomes a journey into the night of madness. (shrink)

The article tends to clarify the possibilities of philosophical interpretation of migration concept in terms of its meanings in the sciences. The concept of migration appears as an empirical generalization and as a metaphor in different disciplines. In the first case, one dwells upon moving of the real living agents in space, in the second one it deals with the dynamics of quasi-agents (cells, programs, ideas). In order to clarify the conceptual status of migration, the author undertakes its contextualization in (...) the process of anthropogenesis. Hence the archetypical character of migration is displayed as ontological framework of key developments of the emergence of the humans and as catalyst of socio-cultural development in general (E. Cassirer). The paper clarifies the possibility of identifying the structure of migration as a journey and adventure (A.N. Whitehead) in the form of uneven development and recurrence of the original event. The paradox of its legitimation is formulated. Philosopher’s “vnenahodimost” (M.M. Bakhtin), the ambivalence of philosophy (T.I. Oiserman) is the discovery of the philosopher as a stalker between the worlds. (shrink)

Walter Benjamin is discussed in this article to speak to the character of our experiences in the world as we try to animate our freedom in the midst of phantasmagoria. While we may indeed be trapped in the slumber of phantasmagoria and its many nightmares of despair, it is still possible to blast away the sands of sleep and awaken to a morally redeemed world fashioned through our engagement with various dreams of freedom. First, this article will explore the concept (...) of phantasmagoria, which is a symbolically rich term used by Benjamin to speak to the complex ways in which we are mired within the combined material and aesthetic trappings of an advanced capitalist world. Such an exploration will consider three archetypes of character (the gambler, the flâneur and the collector) and their corresponding experiences (fashion, boredom and interiority) in an attempt to unite various convolutes from The Arcades Project to consider freedom in a world spectrally haunted by such phantasmagoria. Second, we will consider the possibility of becoming dialectically startled before the angel of history and its potential to animate our weak Messianic power. Such an act must involve the building-up of a redemptive imagination as a means to speak the truth of our place as the makers of value in the world challenged to destine our own journey in the ongoing project of justice. (shrink)

The experience the world's cultural traditions has proved that the human existence with the change of vital biological processes and social conditions subordinates to and stands at the certain step of the hierarchy. In order to achieve higher status it needs to go through the frames of the tradition of ceremonial and ritual scheme, i.e. the process of conscious mode of management and transformation of the human personality. The ceremonies of initiation served as the means of control and transformation of (...) human personality with the help of consciousness, the encoding of the subconsciousness of inner soul of a person took place. The article deals with the different approaches in the interpretationof initiations. But the determining thing is the fact that they formalized the entrance of a person to the communal and corporate unions that were closed for the outsiders, and the essence of the process of formalization was pointed to the regulating of different variance in behavior, its unification, typification, to the development of common schemes and standards. This trend can be seen in the fact that any society, taking care of its integrity, appeals to the collective memory, uses the mythological means, develops the system of social codes of behavior that are offered to its members as ceremonies and rituals that build the basis of the axiom of cosmology of the community. The article is an attempt to define functional and semantic meaning of the phenomenon of initiation from the point of view of the theories of psychoanalysis and some myth centered ideas and conceptions. The analysis of the essential characteristics of initiation as a conscious means of management and transformation of a person's identity is developed. The characteristics of an individual's behavior from the point of view of the tradition of ceremonial and scheme has shown that the modern perspective understanding of the anthropological catastrophe is possible at the conjuncture of retrieval of a personality's integrity in the process of spiritual initiation sublimation that is the most important stage of immersion of a person in his or her own Selfness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Elizabeth Hanson-Smith AUGUSTINE'S CONFESSIONS: THE CONCRETE REFERENT The chief problem facing critics who would consider the Confessions as both a literary work and a philosophical treatise remains the connection between the first nine books, the autobiography, and the last four, the metaphysical speculations on time, eternity, epistemology, and theology. A persistent desire to justify the work as an aesthetic whole has led critics on a search for thematic and (...) structural unity; they have been more successful in the former endeavor than in the latter. The interpretation of the work's plot as a peregrinatio animae, a pilgrimage of the soul, is now generally accepted as definitive; but attempts to find structural unity within that broad outline have not progressed beyond Marrou's characterization of the work as a "musical composition."1 His analogy to music has not been anchored to any concrete structural features of the Confessions and does not illuminate the connections between its content and its form. I shall attempt to prove that a unified structural model for the development of the soul in the Confessions does indeed exist and is outlined in Augustine's earlier discursive work, the De quantitate animae.2 The seven degrees or steps (gradus) of the soul's ascent to God, as sketched in the De quantitate, are deliberately fleshed out and translated into a mimetic, narrative version in the Confessions. Placing the two works side by side gives us a unique opportunity to examine a typically medieval literary form, the educative journey, in its relationship to its philosophical premises. Such a study reveals the inner formal unity of the literary work and, further, provides us with significant evidence for a re-examination of Augustine's Neo-Platonism, his supposed dualism, and his influence on later works, both literary and philosophical. In the Confessions we see one of the earliest Christian blendings of several models: first, the educative journey, the archetypal pattern familiar from the Odyssey, the Aeneid, and even The Golden Ass of Apuleius. Augustine's version, like later medieval cosmologies, also 176 Elizabeth Hanson-Smith1 77 includes a vision of the cosmic order and its relationship to human order, elements of significance in pagan philosophical works such as the Timaeus and the Dream of Scipio. But Augustine's journey also depends upon the Judeo-Christian conception of history as a series of figurae or types of the Messiah: the protagonist of the Christian educative journey joins thefigurae of the Biblical past. Christ's incarnation as Mansoul and his life on earth are the pattern of universal history from Fall to Apocalypse; Christ's life becomes a figurative pattern for the actions of Everyman.3 The Confessions is one of the earliest Christian works to apply this pattern in a narrative context. Augustine was also preoccupied with the Hexaemeron, the six days of creation and the seventh of rest. He views the exegesis of Genesis as an explanation of all subsequent life; the Ages of Man recapitulate the days of creation, as do the sacraments and the seven steps in the ascent of the soul. Thus, to the figurative pattern of Christ's "pilgrimage" from creating Logos to Incarnate God and finally to judge at the Second Coming, Augustine applies the schematic seven-fold ascent found in the De quantitate: the soul passes through the ascending steps of animation, sense, art, religion, tranquillity, initiation, and contemplation—each of which is figured by or patterned on a stage in Christ's life, as represented by the sacraments, and each of which, further, reflects a segment of universal history. The seven steps are not simply the movement of the individual soul, but the progress of Mansoul on its journey to Apocalypse. The stylistic differences between the two works—one an exposition written as Socratic dialogue, the other a metaphorical personal narrative —will no doubt give rise to differing interpretations; but one may, I think, object to certain details I suggest while still agreeing that the De quantitate provides the structuring model. Let me first define the major areas of difference between the two works. In the De quantitate, each of the levels or steps of the soul takes on a discrete, separate... (shrink)

Writing, the exigency of writing: no longer the writing that has always (through a necessity in no way avoidable) been in the service of the speech or thought that is called idealist (that is to say, moralizing), but rather the writing that through its own slowly liberated force (the aleatory force of absence) seems to devote itself solely to itself as something that remains without identity, and little by little brings forth possibilities that are entirely other: an anonymous, distracted, deferred, (...) and dispersed way of being in relation, by which everything is brought into question – and first of all the idea of God, of the Self, of the Subject, then of Truth and the One, then finally the idea of the Book and the Work so that this writing (understood in its enigmatic rigor), far from having the Book as its goal rather signals its end: a writing that could be said to be outside discourse, outside language. – Maurice Blanchot ( The Infinite Conversation , xi) The Compendium * Beginning with the idea and practice of writing, and moving to the subject or self, then to truth and the One, and arriving at the Book and the Work, Blanchot’s words reflect the trajectory of the following work of writing. True to the embeddedness of the subject in the work of writing, the term “Compendium” has been a metonym for me over the past few years as I have thought about the concept of totality alongside its expression in figures such as the One, the Whole, or the All. In the following I aim to share some of the content of this metonym, and to enrich it by making some distinctions. 1 Here the term “Compendium” will refer to a concept of totality that is ontological (pertaining to being, and the copula) and also textual (pertaining to the symbolic, and the signifier-signified relationship). The Compendium is a figure for thinking the world as a Book, in the broadest sense—an approach to reality that is by no means new, but one that is due for renewal. 2 In partial answer to the question of the Compendium we will say that the word ‘Compendium’ stands in for expressions which seek to totalize, or concepts which seek to approach the concept of ‘everything,’ particularly when these expressions are bound up in the question of the Book (both the book as a physical object and the Book as a metaphysical figure: a way of thinking about the work in and of writing). The question of the Compendium is strongly associated with the physical and metaphysical form of the Book, like the mysterious and symbolic books which are opened in the Biblical book of Revelation, the book of life and the book of death, which together constitute an important couplet. 3 Parataxis & Hypotaxis There are two helpful distinctions that will bring us closer to an answer to the question “What is a Compendium?” The first distinction is between two figures in and for writing: parataxis and hypotaxis . Typically paired in contrast to one another as literary techniques, with parataxis indicating a side-by-side placement of textual elements and hypotaxis referring to subordinate arrangements of textual elements, the two figures can be understood as having a philosophical significance in addition to their practical function as devices for writers. For us these two terms will remain between philosophical theory and writing practice, and serve as a perspective for our writing and creation of texts. Here I take texts to refer to anything from the concrete written words in a book, to the ontological text of the world that we experience. Parataxis , as a figural way of thinking about the ontological structure of texts, refers to texts which are tightly woven and interdependent – texts within which each sentence bears the weight of the entire work. Parataxis often involves repetition, great density, and fragility. One of the best examples of this sort of text is Theodor Adorno’s posthumous magnum opus , Aesthetic Theory . In addition to the text itself, the translation history of the book may also help us to better understand parataxis and its relation to hypotaxis . The final published version of Aesthetic Theory , in German, was a text that Adorno intended to revise and rewrite, but this intention was never realized because of his untimely death. Where the German text of Aesthetic Theory certainly exemplifies the concept of parataxis , the first English edition took this densely woven text and carved Adorno’s lengthy paragraphs and lengthy sentences into manageable ‘bite-sized’ pieces of English text. The first translator took further liberty and inserted headings and new paragraph breaks where there were none in the original. Aesthetic Theory was eventually retranslated by Robert Hullot-Kentor and is now available in a form that is much more faithful to the original work. 4 The pertinent idea that this translation history points to is the distinction between parataxis and hypotaxis . Where parataxis describes texts which are repetitive, densely woven, and often fragile, hypotaxis describes texts which are hierarchical and in which the primary relation is linear – the latter of which is very similar to the first English translation of Aesthetic Theory . On the other hand, the original German text that Adorno wrote was very dense, often repetitive, and contained long sections of text unbroken by paragraphs or headings. This example of parataxis was then turned towards hypotaxis through the initial translation which took a text that was, in many ways, nonhierarchical and nonlinear, and artificially subjected it to a hierarchy that was not its own (and here I take the word of Fredric Jameson who comments on the two translations in a note at the beginning of his book Late Marxism ). 5 The point here is not about translation, but rather the distinction between parataxis and hypotaxis precisely as they are figures for discourse, written or otherwise. The concept of parataxis looks far more postmodern and rhizomic than the concept of hypotaxis which remains very modern and arborescent. This is a more figural way of talking about the distinction. However, if we wanted to take a more precise and analytical approach we could say that on the level of form parataxis involves a relationship between sentences and paragraphs in which each part bears an equally crushing responsibility to present the whole content of the text. As well, on the level of content, parataxis requires that each concept in a work take on the full conceptual weight of the total work. Continuing the analysis, we could say that parataxis describes texts in which there is no (or very little) linear or causal move from antecedent to consequent, whether in content or form. Instead, parataxis describes texts which weave together concepts via conjugations or associations. The concept of hypotaxis , on the other hand, requires that texts submit themselves to hierarchy, one example of which is logical argumentation. The contingency of the conclusion upon premises in hypotaxis is certainly distinct from the repetition, re-presentation, and conjugation of concepts in parataxis , and I think that this is evident in the difference between the writing styles prevalent in contemporary Analytic philosophy and Continental philosophy. It is not the case that the distinction between parataxis and hypotaxis absolutely corresponds with the writing styles of Continental and Analytic philosophy (respectively). There are thinkers who take exception to this pattern, such as Badiou’s more formal approach in the discourse of Continental philosophy to give one example. However, when Analytic philosophy takes its writing lessons from the sciences, and seeks to do philosophy via the clean linear move from antecedent to consequent, then I think that Analytic philosophy writes with hypotaxis in mind. On the other hand, when Continental (particularly German and French) philosophy takes its writing lessons from narrative or poetry then Continental philosophy writes with parataxis in mind. It is not fair to say that all those writing Continental philosophy are looking to narrative and poetry for stylistic direction, just as it is not the case that all those writing Analytic philosophy have mathematics and science as their writing format, however there are some striking ways in which the differing epistemologies of Continental and Analytic philosophy encourage writing with parataxis and hypotaxis in mind (respectively). For some, writing with parataxis or hypotaxis in mind is a conscious decision and a product of stylistic self-consciousness, and for others it is an unconscious discursive and epistemic requirement that must be met in order to be involved in a particular discourse. Before moving on to our second distinction, and then an examination of the question of the Book, it is important to point out that both totality and figurations like the One, the Whole, and the All, come out of very human desires to totalize or to actualize our being-towards-totality. The relationship between identity and totality then can be construed, with Heidegger in mind, as striving toward wholeness, completion, or fulfillment, each of which is a quality of compendia. 6 Compilation & Selection The first distinction between parataxis and hypotaxis pertains to both form and content, and to both the mechanics of writing and the ideas to which writing refers. The second distinction pertains to both as well. In the process of writing and in the process of perception as well, there is a tension between compilation and selection . To begin with, in the work of theory-writing there is compilation, and this is because writing theory requires a broad perspective and certain measure of totalization. On the other hand, writing theory requires that the writer select an idea or a combination of ideas to individuate out of a radical and infinite multiplicity of identities and combinations. The concern here is not primarily for the writing of a theory about a specific idea, like a secondary work or a reference text. But rather the concern is with the writing of grand theories: Marx and Marxism, Derrida and Deconstruction, Husserl and Phenomenology, Sartre and Existentialism, Saussure and Structuralism —each of which strives along a trajectory towards being all-encompassing, whether it intends to or not. Today, we could even say that Speculative Realism has embarked on this journey, and perhaps now we could say that the discourse of Speculative Realism has reached the inevitable point after which a grand theory leaves the hands of its writer or writers and becomes a possession of the collective consciousness of the academy, or (perhaps now) the mass consciousness of the blogosphere—and this is a true pharmakon , a poison and a cure, a blessing and a curse. 7 When we write theory, whether the scope is that of a grand theory or a particular theory, we write in the tension between compilation (making good on the desire to be all encompassing) and selection (being required to decide and discern and to judge what is included in the work and what is deleted or appended or abridged or given over to ellipses). Generally speaking, the work of theory-writing often comes out of a desire to totalize, that is, to develop a theory of everything that is able to apprehend new experiences and ideas while still remaining whole. I grant that this is not a universal desire, and that not everyone who sits down to write a work (or book) of theory does so because of their will-to-totality, but it remains that this drive to totalize does condition a great many writers of theory (especially those who seek to develop grand theories like those mentioned previously). At the beginning of his book of interviews, Between Existentialism and Marxism , Sartre is quoted as saying, after completing the first volume of his Critique of Dialectical Reason : “I no longer feel the need to make long digressions in my books, as if I were forever chasing after my own philosophy. It will now be deposited in little coffins, and I will feel completely emptied and at peace—as I felt after Being and Nothingness . A feeling of emptiness: a writer is fortunate if he can attain such a state. For when one has nothing to say, one can say everything .” 8 This is where our two initial distinctions come to bear on the being-towards-totality as it is expressed in the concrete practice of writing: the first being between parataxis and hypotaxis , and the second being between compilation and selection. Where this second distinction is concerned there is a certain paradox at play given that selection is inescapable, and compilation is unachievable. Selection is inescapable (with the figure of the Compendium in mind) because, even when the imperative to compile is followed to excruciating lengths, selection still has the last word. This is why the Compendium is a figure rather than some material thing that can actually be accomplished or actualized. No matter how far one goes along with the will-to-archive and the will-to-compile, it is only ever a question of minimizing selection and never eliminating it. This leads to the second point, which is that total compilation is unachievable. The closest thing to total compilation that we have before us is the ontological and textual fabric of the world. Even in the case of the world, compilation cannot be enacted in a total fashion because of the need to include both the sphere of the actual and the sphere of the possible or potential. This as another way in which compilation is always-already selection, and further evidence that total compilation is practically impossible. Discursive Figuration and Total Writing Rather than figuration referring to a figure of speech or an image, here the term points to a way in which to think about the work of writing, both the work put into writing, and the work that is the result of writing: the finished yet incomplete final piece. As figures or figurations, the Book and the Compendium are ways of thinking about the work of writing and the human desire for the wholeness, completion, and fulfillment that are made manifest in the completed form of the book (whether a published or printed or saved document put to rest by the author). These two figures bear more strongly upon works that seek to be all-encompassing, and works that strive towards expressions of totality such as the One, the Whole, or the All. Moving on to the topic of the subtitle, and on a more prescriptive note, I would say that there is more hope for theory-writing to be found in parataxis than hypotaxis . Part of the reason for this claim is the poststructuralist critique of hierarchies, and yet another part is the compelling line of thinking called “weak thought” (in theology by John D. Caputo, and in philosophy by Gianni Vattimo, among others). 9 The consequences of these two convictions are such that if one is to strongly assert the truth of a grand theory without leaving the realm of hierarchy-critique and weak thought, then one must write paradoxically with parataxis in mind, and in so doing write weakly and non-hierarchically. This does not mean avoiding a sort of topography or topology when writing theory, rather it means avoiding both subjugation and oppression in thought by pursuing a nonviolent sort of ontology. In order to do this, theory writing does not present itself as an exercise in logical analysis where one mechanically moves from a set of premises (via contingency) to the inevitable conclusion (via necessity). Instead, theory approaches the idea of a Compendium. Given that the figural Compendium places parataxis and compilation above hypotaxis and selection, then the question becomes: is placing one part of a binary term before another not just another way of selecting, or another expression of hypotaxis ? Counter to the urge to resign oneself to the reign of selection, with some qualification one can nonetheless write without deciding whether selection and hypotaxis should be subservient to compilation and parataxis (which is to say that writing-without-decision is somewhere between and beyond possibility and impossibility). This dilemma can be disarmed by stating that theory writing is not about primacy, and not about having-decided-beforehand, both stylistically and also where content is concerned. This is the paradox of writing: always striving along a trajectory ( telos ) towards totality via parataxis and compilation, but always being drawn back to finitude and making selections, and placing one idea before another with hypotaxis in mind. In light of this paradox, the question of the Compendium as a figure for discourse and a figural Book has resonance with Jacques Derrida’s essay on Edmund Jabès’ Book of Questions , found in his Writing and Difference . The Question of the Book “Little by little the book will finish me.” 10 Derrida quotes Jabès, and proceeds to outline the reflexive relationship between the author of the book and the book itself, each of which are subjected to the other through a sort of chiasmus, both ontological and textual (not that the two are entirely separable). The Book, for Derrida like Blanchot in the introductory quotation, “infinitely reflects itself” and “develops as a painful questioning of its own possibility”, and in light of this we can draw an association with the painful tension between the practical reality of selection and the ideal trajectory of compilation. 11 This tension in writing, between the will to total compilation and the necessity of abridgment, is an ontological tension between part and whole just as it is a textual tension between signifier and signified. The ontological tension in writing that Derrida expresses in his essay on Jabès is between everything and nothing – a contradiction which Derrida finds in Jabès’ Book of Questions and also in the divine, in God. When one writes between compilation and selection one writes towards totality, and here we can follow Derrida who states that the lapse in signification, presumably in the signifier-signified discrepancy, is a “ rupture with totality itself” and furthermore that this lapse cannot be rectified through deductive reason or even philosophical discourse. 12 This rupture with totality, found in the troubled relation between signifier and signified, can also tell us a lot about the Book and about writing. Given an understanding of writing as an ontological act that strives towards (but never accomplishes) totality, we can see the written book as the manifested and given body of that striving. Perhaps in other disciplines or even other schools of philosophy there is a cultural climate within which the article is prized above the book, but I am fairly confident, especially when referring to the grand theories of Continental thought, that there is a respect for the book as a uniquely meaningful object capable of apprehending totality. Derrida writes, Between the too warm flesh of the literal event and the cold skin of the concept runs meaning. This is how it enters into the book. Everything enters into, transpires in the book. This is why the book is never finite. It always remains suffering and vigilant. 13 Here the vitality of the literal event is compromised by the deadening weight of the concept, and the figure of the Book assists in this lapse of meaning. The Book is a totalizing object, much like the figure of the Compendium, and yet this totalization lacks its final object of completed totality both because the figural Book is necessarily incomplete, and because the physical book is always-already a product of selection. Instead of achieving its end of being a place where everything takes place, it suffers from the lapse of writing, the discrepancy between event and concept. Derrida continues his exposition on Jabès by bringing to light yet another reflexive relation, a reversal of the relationship between the Book and the world. Derrida writes that, for Jabès, “the book is not in the world, but the world is in the book.” 14 In addition to what was stated before, I take figuration to mean that the concepts employed, such as the Book or the Compendium, are not subject to the supposed rigor of analysis that is so prized by Enlightenment or Capitalist realisms. The figure of the Book and the figure of the Compendium cannot be held accountable to standards imported from scientific method, given an understanding that these standards require a concept to be replicable, consistent, falsifiable, measurable, and so on… This is an important point to make, especially in the present atmosphere within which theory must justify itself under conditions that are not its own. Instead of being held to these standards, figuration serves as a way in which to think about writing that leaves thought open to idealistic speculation, imperfect analogies, and most importantly the ever-present gain and loss that occur in the relationship between thought and being. By extension the figural way of addressing writing indulges in enough generalization to accommodate the excess/lack relationship between the ideal form of the Book or the Compendium, and the manifested and given body of a text (as it is practically completed and closed). Here we speak against the hostile atmosphere which would have theory submit itself to hierarchical rigor, rather than Blanchot’s “enigmatic rigor”, by being explicit about the discursive conditions and epistemic conditions under which theory operates. To write with parataxis in mind is, to a certain degree, to write with weakness as one’s methodology (with weak thought being in opposition to hypotaxis and hierarchy as much as weak thought can be in opposition to anything). Rather than asserting the strength of hierarchical theory, and rather than employing antagonistic argumentation with the goal of refutation different discursive and epistemic conditions for theory writing must be cultivated (and these are by no means new). First the critical and theoretical spirit reveals itself as being concerned with the task of complication—especially the complication and critique of binaries, dichotomies, dualities, polarities, paradoxes, parallaxes, hybridities, and especially antinomies. Second, theory positions itself as a sort of showing or revealing, rather than being ultimately focused on coming to full agreement or disagreement. This is where figuration can help theory-writing, both by placing emphasis on teleologies and trajectories (like parataxis and compilation), and by shifting focus away from pure primacy, power, or absolute origin. Figuration then, assists theory writing by placing the concern of theory outside of the concerns of the hard or soft sciences, and into the realm of thought or the idea. To speak of ‘the’ Compendium or ‘the’ Book, here, is to generalize not regarding the perfect form of the Compendium or Book, but to engage speculatively with an abstract idea which remains singular and yet complicated by multiplicity. The question of the Book that Derrida asks through Jabès is a question of everything and nothing, totality and nonbeing, and this question is a concern for writing and a concern for the figure of the Compendium so defined by the tension between compilation and selection, and parataxis and hypotaxis . On the note of nonbeing, we can look to the final page of Derrida’s first essay on Jabès in Writing and Difference and notice the introduction of his neologism, différance (with an ‘a’). Derrida writes: Life negates itself in literature only so that it may survive better. So that it may be better. It does not negate itself any more than it affirms itself: it differs from itself, defers itself, and writes itself as différance . Books are always books of life (the archetype would be the Book of Life kept by the God of the Jews) or of afterlife (the archetype would be the Books of the Dead kept by the Egyptians). 15 This introduction of différance into the equation of the Book, alongside ontological affirmation and negation, hearkens back to the discussion of the symbolic lapse earlier in his essay. Differing and deferring, the Book is always a Book of Life and a figure for the intersection of the vital (life) and the total in writing. In a way, the writer of the Book may be someone who lives life, and in another way the writer of the book-as-object may be someone who engages in the act of writing, both practically (by inscribing words on paper, or typing script on a computer) and ontologically or symbolically (by investing their existence and inexistence into a work worthy of the figural Book). In addition to the writer as writer, the writer also serves as an editor, and the editorial role alongside the idea of the Compendium shows the editor to be one who collects and compiles, while being restrained by eventual selection and decision. Beyond this the editor of works and texts, in both the Book and the world, is engaged in a process of inscribing notation—of annotating (on) the Compendium. Eternal commentary is a feature of the textual Compendium, just as open-ended totality describes the ontological Compendium. The writer as writer does not simply write texts, but rather engages in a profoundly ontological act of inscribing their existence into the world, and the writer as editor does not merely annotate or alter texts as they are, but rather comments upon the text of the world. In/Conclusion So as we create texts, and as we write and create theory, let us be and remain attentive to the figure of the Compendium and the figure of the Book. These two concurrent metonymies are essential for total writing (grand theories, etc.), and may be forgettable for those concerned with fragmentary or hierarchical writing (which are valid in their own right). From the ontological and symbolic text of the world and phenomenological experience, to concrete texts such as books or mixed media, the figure of the Compendium and the figure of the Book are important for the actualization of the human will to be all-encompassing. The figure of the Compendium teaches writers of theory that the repetition, density, and fragility of parataxis offers a strong sort of weakness which does not become yet another variety of oppressive and hegemonic thought. Rather than write with hypotaxis in mind, subjugating one thought to another via cause and effect or antecedent and consequent, I would hope that theory-writing could guiltlessly indulge in the dialectical and contradictory conjugation of ideas, and take this as a legitimate methodology. Rather than being ashamed of showing resonances or giving way to abridgment or ellipses, it is my own authorial (but not authoritative) conviction that one need not give up on totalizing and constructing grand theories because of the fact that complete totalization is impossible, and one need not give up on totalizing and constructing grand theories because of the worry of violence, for the Book and the Compendium lack their completed object and are ever incomplete trajectories. NOTES * UPDATED 7/19/13: we've updated the HTML version to reflect the (correct) PDF version. Our apologies to the author—eds. 1. I would like extend thanks to Dr. Peter Schwenger of the University of Western Ontario for his comments on this paper and his hospitality as it was presented as a Theory Session at the Centre for Theory and Criticism on October 26th 2012. I would also like to thank Andrew Weiss for conversation and critique. 2. I should clarify my use of the term ‘figure’ at the outset. Given the use of the term by Jean-Francois Lyotard in Discourse, Figure (and also Gilles Deleuze in Francis Bacon ), I should state clearly that my use of the term will not correspond to the term ‘figure’ understood as the representation of an object. Instead, my use of the term ‘figure’ and its variations (‘figural’, ‘figurative’, ‘figuration’) will refer to the illustrative or metaphorical use of the Compendium or the Book as models or ways of thinking about writing and discourse. 3. Cf. Revelations 20:12-15. 4. Theodor Adorno, Aesthetic Theory , Trans. Robert Hullot-Kentor (London & New York: Continuum Press, 1997). 5. Fredric Jameson, Late Marxism: Adorno, or the Persistence of the Dialectic (London & New York: Verso, 1990), ix-x. 6. I have written about this concept of being-towards-totality elsewhere in two pieces of writing: the first is called Notes on the Compendium (an unfinished draft) which addresses some very wide theoretical concerns, being structured as a sort of itinerary or archive, and the second is Dialectics Unbound (Punctum Books, 2013) which outlines a concept of totality without the violence of totalization. While these works are more concerned with ontological totality, here I would like to focus on the idea of the Compendium as a textual totality. 7. Cf. Louis Morelle, “Speculative Realism: After Finitude and Beyond, A vade mecum” in Speculations: Journal of Speculative Realism . Issue 3 (Brooklyn, New York: Punctum Books, 2012), 241-272. 8. Jean-Paul Sartre, Between Existentialism and Marxism . Trans. John Matthews (London & New York: Verso, 1974), 9. 9. Cf. John D. Caputo, The Weakness of God (Indiana: Indiana University Press, 2006). 10. Jacques Derrida, “Edmond Jabès and the Question of the Book” in Writing and Difference . Trans. Alan Bass (Chicago: University of Chicago Press, 1978), 65. 11. Ibid, 65. 12. Ibid, 71. 13. Ibid, 75. 14. Ibid, 76. 15. Ibid, 78. (shrink)

Rodrigo Olavarría’s notebooks, formulated as intimate diaries or notebooks, have a similar structure: a romantic breakup, a journey moved by grief and the reference to love as an excuse that fades among thousands of readings through which the artist’s identity and stance are revealed. He sacrifices himself for his exercise and he lives connected to the present of his daily life. However, he is capable of exceeding the isolation of writing where the self faces itself and attempts to cling (...) to the past, memory and the environment. His sacrifice turns him into a stoic, a slave, a fighter. Such archetypes, and his pilgrimage, arethe starting point of the political reading approach proposed in this article. (shrink)

This paper employs textual analysis and comparative literary methods to examine the mystical and spiritual dimensions of D. H. Lawrence's Women in Love through the lens of sufi mysticism. It posits that Lawrence's engagement with sufi philosophy and literature significantly informed his portrayal of love as a transformative spiritual journey. By scrutinizing Lawrence's use of symbolism, imagery, and character development, particularly in the character of Birkin, the study aims to demonstrate how the novel reflects a profound resonance with sufi (...) concepts, such as the unity of the universe and the mystical path for knowledge. This comparative approach seeks to illuminate how Women in Love can be interpreted as a modernist exploration of spiritual fulfillment within a context of societal disintegration, thereby establishing its place within Lawrence's broader “New Man” fiction. Through Birkin, Lawrence explores the complexities of the human psyche and the potential for transcendence through a passionate, yet spiritually grounded love. The paper’s comparative approach seeks to illuminate how the novel contributes to Lawrence's broader “New Man” fiction, a visionary archetype striving for a harmonious integration of body, mind, and spirit. Lawrence’s “New Man” embodies a radical departure from traditional masculinity that collapsed after the war. The new archetype Lawrence envisions in the light of a sufi reading is not the product of societal expectations but an individual attempt at authenticity. (shrink)

This volume picks up where Vaught's Journey toward God in Augustine's Confessions: Books I-VI concluded. The three chapters of this present work follow the Confessions' three central books, looking at Augustine's Neoplatonic moment of ecstasy, his conversion to Christianity in the Milanese garden, and the shared vision with his mother Monica in the house at Ostia. Very much appreciated in Vaught's approach here is his insistence that Augustine never intended to present these experiences as exclusively his own, but rather (...) as "archetypical expressions" of what occurs whenever any human soul comes upon the divine. The method employed throughout helpfully analyzes these major events within the Confessions in terms of chronological development, how Augustine engages or is engaged by those around him, and those encounters with God which shape a soul's story. (shrink)

My conversion into a knower has been a long and winding road. From childhood reverie to the years of formal schooling, education has never ceased to lure me into its magical power. How do we really get to know/see/learn whatever happens on our educational journey? In this paper, I will re-trace my quest for knowledge that reaches beyond the boundaries of traditional epistemology. My wonderings will take me to explore, via Jung, the possibilities of imaginative education through Gnosis and (...) Sophia. The paper intends to weave together several Jungian discourses with their versions by other thinkers who have contributed to the fields of depth psychology, esotericism, and educational philosophy. (shrink)

In this novel re-examination of the archetype construct, philosopher Jon Mills and psychiatrist Erik Goodwyn engage in spirited dialogue on the origins, nature, and scope of what archetypes actually constitute, their relation to the greater questions of psyche and worldhood, and their relevance for Jungian studies and analytical psychology today. Arguably the most definitive feature of Jung's metapsychology is his theory of archetypes. It is the fulcrum on which his analytical depth psychology rests. With recent trends in post-Jungian and neo-Jungian (...) perspectives that have embraced developmental, relational, social justice, and postmodern paradigms, classical archetype theory has largely become a drowning genre. Despite the archetypal school of James Hillman and his contemporaries and the archetype debates that captured our attention over two decades ago, contemporary Jungians are preoccupied with the lived reality of the existential subject and the personal unconscious over the collective transpersonal forces derived from archaic ontology. Archetypal Ontology will be of interest to psychoanalysts, philosophers, transpersonal psychologists, cultural theorists, anthropologists, religious scholars, and many disciplines in the arts and humanities, analytical psychology, and post-Jungian studies. (shrink)

McCoy and colleagues (2023) offer a reflective framework for data ethics and governance with several historical bioethics principles as a foundation. Their framework is one among a plethora of othe...

Archetypal Process is a pioneering study linking the ideas of process philosophy, as developed by Alfred North Whitehead and Charles Hartshorne, with the archetypal psychology of C. G. Jung and James Hillman. This is the first work to examine the interconnections of these two modes of thought. Archetypal Process examines the importance of cosmological thinking and the need to ground archetypal psychology in a metaphysical, philosophical framework. It treats the necessity for symbol and myth, the nature (...) of the spirit, and language as a metaphorical vehicle of thought, and finally, it adds a much-needed feminist perspective to the debate. (shrink)

In this analysis we start from the paradigm of Righteous Job's suffering, recapitulating the most important elements of the ordeal he went through: the loss of wealth, children and health. From the fact that suffering is an inescapable reality in human existence, the idea emerges that the suffering of the righteous Job is not an isolated case, but an archetypal one. For this reason, the assumption of Righteous Job becomes a guiding light. Since the focus of the research falls (...) on the relationship between asceticism and suffering, we have further addressed this relationship in regard to two great ascetics, St. Sophrony of Essex and St. Joseph the Hesychast. To St. Sophrony, suffering comes in the second age of the spiritual life, when pedagogical abandonment on the part of God occurs. The suffering caused by abandoning grace is a preparatory stage for reaching the spiritual feeling of God. St. Joseph does not speak of abandonment, but of the withdrawal of God's grace, which is in fact a reality similar to abandonment. Suffering is seen by St. Joseph as superior to asceticism, because it presupposes the acceptance of what is very uncomfortable for us, implies the martyric patience of temptations or diseases, with a greater cleansing effect on the needy. Patience involves the denial of one's own will, the crucifixion of selfishness and passions. In the final part, I made a brief phenomenological assessment of the reality of suffering from the perspective of Jean Luc Marion's thought. (shrink)

Social innovations (SIs) offer creative solutions to complex social problems and often require the exchange of necessary resources, knowledge, and expertise among various actors. These actors form an ecosystem that can support the development of successful SIs. In this special topic forum introduction, we first discuss the literature related to the support function of ecosystems. We use the theoretical lens of prosocial behavior to explain the various types of support in an ecosystem. We argue that there are three archetypes of (...) support in ecosystems, namely, altruistic, communitarian, and commercial support. Subsequently, we present the three papers accepted for publication in the special topic forum. One paper refers to the three support archetypes, although indirectly, while the other two refer to one specific archetype of ecosystem support for SIs. This introductory paper concludes with discussion on the opportunities for future research. Without a clear understanding of the different archetypes of support, it would be difficult for both scholars and practitioners to design vibrant ecosystems in assistance to SI. (shrink)

ABSTRACT The philosophical tradition approaches to morals have their grounds predominantly on metaphysical and theological concepts and theories. Among the traditional ethics concepts, the most prominent is the Divine Command Theory (DCT). As per the DCT, God gives moral foundations to the humankind by its creation and through Revelation. Morality and Divinity are inseparable since the most remote civilization. These concepts submerge in a theological framework and are largely accepted by most followers of the three Abrahamic traditions: Judaism, Christianity, and (...) Islam: the greatest part of the human population. Holding faith and Revelation for its grounds, the Divine Command Theories are not strictly subject to the demonstration. The opponents to the Divine Command conception of morals, grounded in the impossibility of demonstration of its metaphysical and religious assumptions, have tried for many centuries (albeit unsuccessfully) to devalue its importance. They held the argument that it does not show material evidence and logical coherence and, for this reason, cannot be taken into account for scientific nor philosophical purposes. It is just a belief and, as so, should be understood. Besides these extreme oppositions, many other concepts contravene the Divine Command theories, in one or another way, in part or in full. Many philosophers and social scientists, from the classic Greek philosophy up to the present date, for instance, sustain that morality is only a construct, and thus culturally relative and culturally determined. However, this brings many other discussions and imposes the challenge to determine what is the meaning of culture, which elements of culture are morally determinant, and finally, what are the boundaries of such relativity. Moral determinists claim that everything related to human behavior, including morality, is determined, once free will does not exist. More recently, modern thinkers argued that there is a strict science of morality. However, the scientific method alone, despite explaining several facts and evidence, cannot enlighten the entire content and full meaning of ethics. Morals’ understanding requires a broader perception, and an agreement among philosophers, which they have never achieved. All of these questions have many different configurations depending on each philosophical strand, and start complex analysis and endless debates, as long as many of them are reciprocally conflictive. The universe and the atmosphere involving this thesis are the dominions of all these conceptual conflicts, observed from an objective and evolutionary standpoint. Irrespective of this circumstance and its intrinsic importance, however, these questions are far distant from the methodological approach of an analytical discussion on objective morals, what is, indeed, the aim and scope of this work. We should briefly revisit these prominent traditional theories because this thesis shelters a comparative study, and its assumptions at least differ profoundly from all traditional theories. Therefore, it becomes necessary offering direct and specific elements of comparison to the reader, for the right criticism, dispensing interruptive researches. However, even revisiting the traditional theories, for this comparative and critical exposure purpose, they will be kept by the side of our main concerns, as “aliena materia.” Irrespective of the validity of any or all of the elements of this discussion, and their meaning as the philosophical universe of this thesis, the purpose of this work is demonstrating and justifying the existence and meaning of prehistoric moral archetypes arisen directly from the very first social needs and efforts for survival. These archetypes are the definition of the essential foundation of ethics, its aggregation to the collective unconscious and corresponding logic organization and transmission to evolutionary stages of the human genome and different relations space-time, irrespective of any contemporary experience of the individuals. The system defined by these archetypes composes an evolutionary human social model. Is this a metaethical position? Yes, it is. Moreover, as in any metaethical reasoning, we should look carefully for the best and coherent routes, as the Analytical Philosophy offers them. Thus, this work should reasonably demonstrate that morals are not a cultural product of the civilized men or modern societies and that despite being subject to several cultural relative aggregations and subtractions, its essential foundations are archetypal and have never structurally changed. This reasoning induces that morality is an original attribute of the “homo sapiens”; it is not a property and nor an accident: it integrates the human essence and belongs to the realm of the ontological human identity. The human phenomena is a continuing process, playing its role between random determination and free will, and we need to question how morality began and how did it come to us in the present. (shrink)

One of Jung's most influential ideas has been his view, presented here, that primordial images, or archetypes, dwell deep within the unconscious of every human being. The essays in this volume gather together Jung's most important statements on the archetypes, beginning with the introduction of the concept in "Archetypes and the Collective Unconscious." In separate essays, he elaborates and explores the archetypes of the Mother and the Trickster, considers the psychological meaning of the myths of Rebirth, and contrasts the idea (...) of Spirits seen in dreams to those recounted in fairy tales.This paperback edition of Jung's classic work includes a new foreword by Sonu Shamdasani, Philemon Professor of Jung History at University College London. (shrink)

The article is devoted to the analysis of the archetypal image of the Promised Land in Russian utopian thought. The subject of the research is the literary utopias of M.M. Shcherbatov, V.F. Odoevsky, A.A. Bogdanov and the philosophical texts of N.F. Fedorov, S.N. Bulgakov, N.A. Berdyaev, reflecting collective hopes for finding social harmony. The object of research is the image of the Promised Land, which contains an archetypal idea of the place of prosperity in earthly reality. The main (...) purpose of the article is to determine the specifics of the functioning of the archetypal image of the Promised Land in the Russian utopia, the features of which can be traced in the models of the best social structure of Russia depicted by the authors. The application of archetypal analysis to utopian pictures of the future is a little-studied technique, which determines the relevance of this study. The article uses comparative historical, hermeneutic and structural-typological methods to identify the genesis and development of the image of the Promised Land, analyze the texts of the authors in a cultural and historical aspect and identify similar features in them, making it possible to identify the image of the Promised Land as archetypal. The scientific novelty is due to the fact that the consideration of utopias is carried out through the prism of the archetypal image of the Promised Land, rooted in the collective unconscious and embodying the hopes of society for finding a world where the ideals of freedom, equality and justice will be embodied. It is determined that the archetypal image of the Promised Land in Russian utopia is a metaphorical expression of the search for a "lost paradise" and appears in utopian plots as a stable motive focusing faith in the coming of a bright future. The main stable components that make up the semantic core of the image of the Promised Land are highlighted. It is concluded that this image functions in utopian plots, on the one hand, as a topological constant indicating the place of action ("the land of Ophir", "the Northern Kingdom", "Mars"), on the other hand, as an idea of the ideal structure of social existence, which can be associated not only with real, but also transcendent reality, the spiritual state of society ("Millennium", "Kingdom of the Spirit", etc.). (shrink)

Many influential philosophers have argued that in pgh. 608 of Zettel (hereafter Z608) Wittgenstein appears to say that language and thought might emerge out of physical chaos at the neural “centre”. By contrast, the present paper argues that these scholars are, in a fashion that would be readily understandable by Thomas Kuhn, assuming the very Anglo-American paradigm that Wittgenstein is actually critiquing in Z608 when they interpret his remarks. In opposition to this, the paper argues that Wittgenstein’s notion of emergence, (...) chaos and the center in Z608 (and elsewhere in his works) is better understood in terms of the universal cross-cultural archetypes, emphasized by Carl Jung and Mircea Eliade of emergence, chaos and the center found in numerous religious and cosmological traditions around the world. The paper also points out that Wittgenstein also uses many other cross-cultural symbols also emphasized by Jung and Eliade, including the Shadow (which, in Jung, represents the opposite of the ego), the Trickster (or Devil), the mandala, the labyrinth, the microcosm, the crystal, the abyss, darkness, circular movement and creation (genesis), in order to illustrate his view. Perhaps the most fascinating of these concerns the archetypal cosmological symbolism in Wittgenstein’s self-reported but largely ignored“ alchemical” dream, including the Indian mandala symbolism in that dream. The paper concludes that Wittgenstein that is not restricted by Anglo-American “analytical” philosophy or the associated “scientistic” paradigms but is informed by a way of looking at things implicit in a fundamental archetypal symbolism found in very different cosmologies, religion and cultures all around the globe. (shrink)

Do people classify nature in ways that can be described as archetypes? Could it be that these can be interpreted as health promotive? More and more researchers today suggest that archetypes can be used to analyze, describe, and develop green spaces. In parallel, an increasing number of research results since the 1980s have shown that human health and well-being are positively affected by stays in certain nature areas. The qualities in these nature areas which stand out to be most health-promoting (...) are interpreted to be properties of nature that humans through evolution are prepared to perceive in a positive way. In this study, 547 respondents in southern Sweden answered a questionnaire on properties in natural areas. Through cluster analysis, these properties have been grouped into 10 types of nature and landscape. The 10 clusters are related to specific phenomena and places in Scandinavian nature, which could be described as archetypal. These natural phenomena and places are discussed, partly based on references to archaic Scandinavian mythology, Scandinavian lifestyle, and cultural canon, and partly on research on evolution, human preferences, and how nature can affect human health. We discuss how these nature archetypes evoke anxiety, fear, and distancing as well as calmness, tranquility, and connection. However, researchers have so far focused on how visits to natural environments have affected the sympathetic nervous system, and not realized the possibility of including the calm and connection system as well as the oxytocin in their explanatory models. In a follow-up article, we intend to develop a model for how the nature archetypes can interact with the calm and connection system. (shrink)

The concept of 'Archteypes' and the hypothesis of 'A Collective Unconscious' are two of Jung's better known and most exciting ideas. In this volume - taken from the Collected Works and appearing in paperback for the first time - Jung describes and elaborates the two concepts. Three essays establish the theoretical basis which are then followed by essays on specific archetypes. The relation of these to the process of individuation is examined in the last section. _The Archetypes and the Collective (...) Unconscious_ is one of Jung's central works. There are many illustrations in full colour. (shrink)

The Milesian protophilosophy was an important phase in the development of Western thought. The first philosophical ideas of the origin and the nature of the world arose from the mythological images. The author tries to show, that the Milesian conceptions do not draw on the particular Greek myths, but on the archaic mythology embodying various mythological motives - the archetypes. The latter emerge spontaneously from human unconciousness and become a part of consciousness. Thales' idea, that "water is the origin of (...) all tings... and therefore the earth floats on water", is the expression of mythical experience based on the archetype of chaos. Its archetypal image is "the primal water" as the source of the arising world. Similarly there is an analogy between Anaximander's apeiron and the archetype of chaos. The transition from the mythical-imaginative thought to rational and abstract one is represented also by Anaximenes, who also makes use of various archetypes . The mythical-imaginative thought differs from rational conceptual thought in that in the former the part is identical with itself as well as with the whole, while in the latter the relationship between the part and the whole is dichotomical. The Greek thought developes into a purely dualistic way of thinking, which is fully manifested in Parmenides. (shrink)

Cet article est la synthèse d’une recherche approfondie sur l’archétype de la déesse mère exposée dans mon livre, Mère terrible, la déesse dans la religion du Mexique ancien (2007). Ici est présenté un résumé schématique des changements et métamorphoses dans la conception de la divinité féminine tout au long d’une histoire de plus de 4000 ans (2500 avant à 1520 après J.‑C.). Voici certaines des questions qui guident la recherche : Comment les habitants du Mexique ancien concevaient‑ils le mystère de (...) la féminité? Quelle relation mythique détient la déesse avec le miracle de la germination du maïs? Quelle place occupe la déesse, symbole cosmique de la naissance et de la mort, dans la société sacrificielle et guerrière des Aztèques? (shrink)

Metaphysics, Psychology and Philosophy have defined the notion of archetype. We will argue that there is another concept, the “anarchetype” which could escape to the centralization and to any pre‑defined structure building on archetypes. Anarchetype belongs to anarchic and unpredictable structures denying center and logos. It could be used to study marginal or non coherent works far beyond occidental pattern. Eschatype is finally analysed. Some structures without any archetype have to draw an internal evolution before building any model or order. (...) If eschatype is not initially known, it finally shows up and exposes explanations, meanings and even a structure. Eschatype may then give birth to a new theme. It finally may be found in other supports or works, structure and archetype. (shrink)

It is very curious that C.G. Jung has had so little influence upon the anthropology of consciousness. In this paper, the reasons for this oversight are given. The archetypal psychology of Jung is summarized and shown to be more complex and useful than extreme constructivist accounts would acknowledge. Jung's thinking about consciousness fits very well with a modern neuroscience view of the psyche and acts as a corrective to relativist notions of consciousness and its relation to the self.

_Archetypal Expressions_ is a fresh approach to one of Jung's best-know and most exciting concepts. Richard M. Gray uses archetypes as the basis for a new means of interpreting the world and lays the foundations of what he terms an "archetypal sociology". Jung's ideas are combined with elements of modern biology and systems theory to explore the basic human experiences of life, which recur through the ages. Revealing the implicitly cross-cultural and interdisciplinary nature of Jungian Psychology, _Archetypal Explorations_ represents (...) a significant contribution to the literature of archetypes and integrative approaches to human behaviour. (shrink)

Recent marketing theory uses the Jungian concept of the archetype to design strategies for the improvement of product selling. Mark and Pearson propose that archetypes such as the ruler, the hero, the outlaw, and the sage are useful in promoting a product. This article suggests that the concept of archetypes as well as myths such as the Prometheus myth and the myth of the expulsion from Paradise, when combined with the insights offered by Mark and Pearson, may help in understanding (...) the management of trials of dissent as well. The article presents seven motifs that recur in trials of dissent and shows how they form a part of the phenomenon of the political management of dissent: the demonization and otherization of defendants and their supporters; the tendency to employ the charge of conspiracy and thus target a group rather than a single individual; the bending of the laws of procedure; the utilization of previously-untested substantive charges; the appeal made by each side to an external principle or vision--typically, the government resorts to the law of necessity whereas the defense resorts to natural law or a vision of "true justice" ; focus on the judge as manipulator of laws; and the appellate court assuming the role of the ultimate sage, performing its task with balance and detachment. The appellate court may use softer rhetoric in an effort to minimize the damage to the appearance of legality. When it does so, the rule of law is reaffirmed as a concept that benefits all sides; there is thus unity in the commitment to the rule of law, not to patriotism or to identification with the government. In addition, an effort is made to reaffirm the maxim that the government is a government of law, not of men. (shrink)

Archetypal psychology suggests the possibility of a leadership archetype representing the unconscious preferences of human beings as a species about the appropriate relationships between leaders and followers. Mythological analysis compared God’s leadership in the Abraham myth with modern visionary, ethical and situational leadership to find similarities reflecting continuities in human thinking about leadership over as long as 3600 years. God’s leadership behavior is very modern except that God is generally more relationship oriented. The leadership archetype that emerges is of (...) a leader that develops his/her follower by reliably maintaining a vision, behaving according to firm ethical values even when it weakens the leader’s authority, accepting suffering when the follower is unreliable, and always forgiving even when the follower behaves with hubris in an attempt to overthrow the leader. If God’s leadership principles were mandatory in management, many dysfunctional leaders would be disqualified and many of the negative consequences of poor leadership might be averted. (shrink)

In discussions of state surveillance, the values of privacy and security are often set against one another, and people often ask whether privacy is more important than national security.2 I will argue that in one sense privacy is more important than national security. Just what more important means is its own question, though, so I will be more precise. I will argue that national security rationales cannot by themselves justify some kinds of encroachments on individual privacy (including some kinds that (...) the United States has conducted). Specifically, I turn my attention to a recent, well publicized, and recently amended statute (section 215 of the USA Patriot Act3), a surveillance program based on that statute (the National Security Agency’s bulk metadata collection program), and a recent change to that statute that addresses some of the public controversy surrounding the surveillance program (the USA Freedom Act).4 That process (a statute enabling surveillance, a program abiding by that statute, a public controversy, and a change in the law) looks like a paradigm case of law working as it should; but I am not so sure. While the program was plausibly legal, I will argue that it was morally and legally unjustifiable. Specifically, I will argue that the interpretations of section 215 that supported the program violate what Jeremy Waldron calls “legal archetypes,”5 and that changes to the law illustrate one of the central features of legal archetypes and violation of legal archetypes. The paper proceeds as follows: I begin in Part 1 by setting out what I call the “basic argument” in favor of surveillance programs. This is strictly a moral argument about the conditions under which surveillance in the service of national security can be justified. In Part 2, I turn to section 215 and the bulk metadata surveillance program based on that section. I will argue that the program was plausibly legal, though based on an aggressive, envelope-pushing interpretation of the statute. I conclude Part 2 by describing the USA Freedom Act, which amends section 215 in important ways. In Part 3, I change tack. Rather than offering an argument for the conditions under which surveillance is justified (as in Part 1), I use the discussion of the legal interpretations underlying the metadata program to describe a key ambiguity in the basic argument, and to explain a distinct concern in the program. Specifically that it undermines a legal archetype. Moreover, while the USA Freedom Act does not violate legal archetypes, and hence meets a condition for justifiability, it helps illustrate why the bulk metadata program did violate archetypes. (shrink)

This paper explores the influence of transpersonal thinking, including the mythological perspective of Joseph Campbell and the holotropic perspective of Stanislav Grof, on actor training using the neutral mask. An outline of training in the neutral mask is given, focusing on the approach of David Latham, as experienced by the author in his own training. Points of correspondence with the vision of Campbell and Grof, and their influence, are discriminated and discussed. These correspondences open up two areas of inquiry: the (...) transformative effect of the mask work when conducted in a transpersonally-oriented set, and the use of the neutral mask as an approach to the study of myth and archetype. Both are discussed, and some preliminary conclusions drawn based on experiences reported by student-actors and the author’s observations during his own research and his practice as actor and teacher. (shrink)

Soccer, or football, attracts vast numbers of passionate fans from all over the world; yet clinical psychology is yet to study it in depth. In this book, David Huw Burston, a consultant football psychology and performance coach, uses a phenomenological research method inspired by Amedeo Giorgi to consider what we can learn from the spirit of the game, and how this can be used positively in the consulting room and on the field of play. By examining detailed qualitative research with (...) professional soccer players of both sexes, Burston identifies and considers nine particular themes, including the family, god, heroes and dreams, and discusses how what we can learn from the game of football and team culture can be applied to Jungian analysis today. This book bridges the gap between clinical psychology and sport, outlining potential shortfalls in current youth development in sport, as well as discussing how traditional Jungian archetypes can be identified in everyday settings. It will be of key interest to researchers from both the fields of analytical psychology and sports studies. (shrink)

In this era of intense migration, the topic of the foreigner is of paramount importance. Joanne Wieland-Burston examines the question of the 'foreign' and 'foreigner' from multiple perspectives and explores how Jung and Freud were more interested in the wide phenomenon of the foreign in the unconscious rather than in their own personal lives. She analyses cultural approaches to the archetype of the foreigner throughout history using literary, cultural (as seen in mythological texts and fairy tales) and psychological references and (...) interprets the scapegoating of foreign minorities as a projection of the monster onto the foreigner. The book includes contemporary perspectives on immigration and displacement throughout, from analysing patient case material, the archetypal needs of people who join terrorist groups, feelings of alienation, and the work of Palestinian-German psychologist Ahmad Mansour. Throughout this personal and highly topical study, Wieland questions and studies C. G. Jung's own reflections on himself as a foreigner and her own personal experiences. (shrink)

The Jungian concept of archetypes is of immense value for critically distinguishing what is potentially of universal practical value in religious and other cultural traditions, and separating this from the dogmatic elements. However, Jung encumbered the concept of archetypes with debatable constructions like the 'collective unconscious' that are unnecessary for understanding their practical function. This book puts forward a far-reaching new theory of archetypes that is functional without being reductive. At the centre of this is the idea that archetypes are (...) adaptations to help us maintain inspiration over time. Humans are such distractable beings that they need constant reminders to maintain integration with their most sustainable intentions: reminders using the profound power of symbol linked to embodied experience. This multi-disciplinary book weaves together religious studies, ethical philosophy, the psychology of bias, the neuroscience of brain lateralisation, the linguistics of embodied meaning, the feedback loops of systems theory, with a lifetime's experience of Buddhist practice and appreciation of symbolism in the arts: all with the aim of producing a fresh understanding of the role of archetypes in religion and beyond, that can also be directly applied in practice. (shrink)

Resumen La figura femenina en el arte cinematográfico ha sido mostrada mediante arquetipos y cumpliendo distintas funciones. Nos proponemos en este estudio analizar los personajes femeninos por medio de la narrativa audiovisual en dos películas emblemáticas de la cinematografía de Hitchcock: Recuerda y Vértigo, en las que la mujer se contempla como empoderada, pero también sometida, llegando a una negación de su propia identidad. Consideramos que la forma del tratamiento de la mujer en el cine de dicha época radica en (...) la situación social de la misma, sufriendo un tratamiento discriminatorio, que es admitido por los personajes femeninos justificándolo en un enamoramiento, que anula la propia personalidad. Abstract The female figure in cinematographic art has been shown through archetypes and performing different functions. We propose in this study to analyze female characters through the audiovisual narrative in two emblematic films of Hitchcock’s cinematography: Spellbound and Vertigo, in which women are seen as empowered, but also subjected to a denial of their own identity. We consider that the treatment of women in the cinema of that time lies in the social situation of the same, suffering a discriminatory treatment, which is admitted by the female characters justifying it in a crush, which annuls the own personality. (shrink)

The study of literature from the point of view of the search for archetypal images and the study of artistic creativity from the standpoint of structuralism are two important trends. Both of these trends have emerged in the contexts of different scientific paradigms. The origin of archetypal criticism is associated with the figure of Herman Northrop Fry, and the basis of archetypal criticism is psychology, namely the concept of psychoanalysis, founded by Sigmund Freud and Carl Gustav Jung. (...) While the origin of structuralism is associated with linguistics and the name of Ferdinand de Saussure, who first began to consider language as a system of signs in which each element defines other elements and is itself determined by them. With all the difference in origin, in general, both theories do not contradict each other - on the contrary, they complement each other. Archetypal literary criticism and structuralist theory of art have deep internal theoretical connections in several ways: both theories look for repetitive elements in literature, both consider literature as a space of memory about the past. Archetypal literary criticism and the structuralist theory of art direct the appeal to the psychology of man as the creator of works of art. Both directions are also largely based on the idea of binary oppositions: within the framework of the archetypal criticism of the pair, many archetypes are grouped into pairs, whereas within the framework of structuralism, the idea of structure itself is based on elementary concepts opposed to each other; finally, both methods have been criticized for the same shortcomings, such as the denial of author subjectivity and the denial of human progress. This article attempts to show that the theory of archetypes in literature and the structuralist theory of art complement each other, and how exactly this complementarity is achieved. (shrink)

The Archetypal Sunnī Scholar: Law, Theology, and Mysticism in the Synthesis of al-Bājūrī. By Aaron Spevack. Albany, NY: State University of New York Press, 2014. Pp. viii + 212. $80.

A one-premiss rule is said to be archetypal for a consequence relation when not only is the conclusion of any application of the rule a consequence of the premiss, but whenever one formula has another as a consequence, these formulas are respectively equivalent to a premiss and a conclusion of some application of the rule. We are concerned here with the consequence relation of classical propositional logic and with the task of extending the above notion of archetypality to rules (...) with more than one premiss, and providing an informative characterization of the set of rules falling under the more general notion. (shrink)

It is my goal in this paper to offer a strategy for translating universal statements about utopia into particular statements. This is accomplished by drawing out their implicit, temporally embedded, points of reference. Universal statements of the kind I find troublesome are those of the form ‘Utopia is x’, where ‘x’ can be anything from ‘the receding horizon’ to ‘the nation of the virtuous’. To such statements, I want to put the questions: ‘Which utopias?’; ‘In what sense?’; and ‘When was (...) that, is that, or will that be, the case for utopias?’ Through an exploration of these lines of questioning, I arrive at three archetypes of utopian theorizing which serve to provide the answers: namely, utopian historicism, utopian presentism, and utopian futurism. The employment of these archetypes temporally grounds statements about utopia in the past, present, or future, and thus forces discussion of discrete particulars instead of abstract universals with no meaningful referents. (shrink)

Reprint. Originally published: 1959; 1st Princeton/Bollingen pbk. ed. published: 1970.