The novel Children Of The Earth is about transformation. It uses Ovid's Metamorphoses as a metaphor for the processes which occur in the psyche of each character, and is based on Jungian insights into myth and alchemy. Archetypes that underlie the unconscious processes of all humanity are seen in the symbolism of three very different religious traditions, namely Greek mythology, the Hebrew Old Testament and Australian Aboriginal beliefs. I explore the ways in which these three great mythologies might have converged in colonial South Australia. The story deals with the troubled marriage of isolated settler couple, Hestia and Adam George, and the effects on it of three people who come into their lives. Itinerant German mineralogist Johannes Menge ( based on a real life pioneer ) is a self-taught, eccentric polymath, and a devout but unorthodox exponent of the Bible. In Jungian terms he fulfils the role of an archetypal, but flawed, ' Wise Old Man'. Menge represents nineteenth century Protestantism, albeit still trailing some arcane superstitions. His protégé, a disgraced young teacher of classics, calls himself Hermes, and represents the role of Greek mythology in European civilization. Reliving the life of the mercurial god in the antipodes, he becomes messenger, trickster and seducer. Unatildi, an Indigenous girl whom Adam finds in a burnt-out tree trunk, is an archetypal maiden. She introduces the Europeans to the mythology of their new land, as sacred for her people as the Bible is for Johannes Menge. Each of these three characters plays a part in transforming the marriage of Adam and Hestia, and each, in turn, undergoes a personal metamorphosis. Aboriginal women act as midwives at the birth of the love-child of Hestia and Hermes. Named Sophia, after the goddess of wisdom, the new child is thought to have inherited the miwi spirit of Unatildi's lost infant. On his deathbed, as Menge bequeaths his wisdom to his Australian friends, he predicts that Sophia will understand the sacredness of all spiritual life. Eventually Hestia and Adam find themselves changed by their encounters with the archetypes of myth. News of Menge's death on the goldfields gives them the courage they need to begin rebuilding an honest relationship. The novel is 107,400 words in length and is accompanied by an exegesis of 20,170 word, entitled Myth And Alchemy In Creative Writing. The exegesis describes the interactive process of researching and writing, as well as exploring the value of Jungian concepts for creative writing, and current issues of creating Indigenous characters. There is an emphasis on the Jungian approach to mythology and alchemy. / Thesis (Ph.D.)--School of Humanities, 2006.

<p>The phenomenology of Gaston Bachelard holds that readers, or viewers, relate to spatial imagery through the use of age-old archetypes. These archetypes form a collective image-memory that is employed when reading space. One such image is the house. The house for Bachelard is, however, never solely an image, but constitutes a familiar space that becomes inscribed in our bodies through the repeated physical contact with this domestic space. The house teaches us to interact with space, and comes to inform the way that human beings understand images of space. Spatial imagery can be conceptualized both as embodied, lived experience and as semiotic sign. The aim is to investigate the idea of a collective image-base, and in what way the universality of these images relates to the individual conditions of each meeting with images of space. The object of study here is also to survey the ways that images of space transgress the borders between bodily experience and abstract sign, between the individually specific and the universal, as well as between actual space and represented space.</p>

The phenomenology of Gaston Bachelard holds that readers, or viewers, relate to spatial imagery through the use of age-old archetypes. These archetypes form a collective image-memory that is employed when reading space. One such image is the house. The house for Bachelard is, however, never solely an image, but constitutes a familiar space that becomes inscribed in our bodies through the repeated physical contact with this domestic space. The house teaches us to interact with space, and comes to inform the way that human beings understand images of space. Spatial imagery can be conceptualized both as embodied, lived experience and as semiotic sign. The aim is to investigate the idea of a collective image-base, and in what way the universality of these images relates to the individual conditions of each meeting with images of space. The object of study here is also to survey the ways that images of space transgress the borders between bodily experience and abstract sign, between the individually specific and the universal, as well as between actual space and represented space.

Previous studies in building energy assessmnet have made it clear that the largest potential energy efficiency improvements are conected to the retrofitting of existing buildings. But, lack of information about the building stock and associated modelling tools is one of the barriers to assessment of energy efficiency strategies in the building stocks. Therefore, a methodology has been developed to describe any building stock by the means of archetype buildings.  The aim has been to assess the effects of energy saving measures. The model which is used for the building energy simulation is called:  Energy, Carbon and Cost Assessment for Buildings Stocks (ECCABS). This model calculated the net energy demand aggregated in heating, cooling, lighting, hotwater and appliances.   This model has already been validated using the Swedish residential stock as a test case. The present work continues the development of the methodology by focusing on the UK building stock by discribing the UK building stock trough archetype buildings and their physical properties which are used as inputs to the ECCABS. In addition, this work seekes to check the adequacy of applying the ECCABS model to the UK building stock. The outputs which are the final energy use of the entire building stock are compared to data available in national and international sources.   The UK building stoch is described by a total of 252 archetype buildings. It is determined by considering nine building typologies, four climate zones, six periods of construction and two types of heating systems. The total final energy demand calculated by ECCABS for the residential sector is 578.83 TWh for the year 2010, which is 2.6 % higher than the statistics provided by the Department of Energy and Climate Change(DECC). In the non-residential sector the total final energy demand is 77.28 TWh for the year 2009, which is about 3.2% lower than the energy demand given by DECC. Potential reasons which could have affected the acuracy of the final resualts are discussed in this master thesis.

Darbe aptariama Petro Dirgėlos romanų ciklo „Karalystė“ pirmosios dalies „Benamių knygos“ antrasis romanas „Giria“. P.Dirgėla yra istorinio lietuvių romano reformatorius, istoriosofinio Lietuvos valstybės vaizdo kūrėjas. Visai autoriaus kūrybai būdingos sąsajos su istoriniais kultūros simboliais, sudėtingos metaforos, perkeltinės pasakojimo reikšmės. Darbe aptariamos simbolinės archetipinių ženklų reikšmės. Konkrečiai analizuojama žemės, kelio, ugnies, žmogaus, Dievo simbolinė raiška. Pagrindiniais, būdingais visam romanų ciklui, laikomi du iš jų: žemė ir kelias. „Girios“ veikėjų likimus žemė susieja su gamta, jos deivėmis, motinyste, žemdirbyste ir kitomis vertybėmis. Kelias veikėjams reiškia visos tautos istorinę patirtį, gyvenimą, namų ir valstybės ieškojimą. Kelionės motyvas yra svarbus visiems be išimties ,,Girios” personažams, tačiau ypač pagrindinei veikėjai Teresei Kerpienei. Kelias reiškia tautos gyvenimą, namų ir valstybės ieškojimą. Ugnies simbolika susieja žmogų su Dangumi. Žmogaus kaip vyro ir moters opozicijų simbolinės reikšmės, žmogaus prisikėlimas siejamas su Dievo simbolika. Teresės šeimos istorija susieta su visais analizuojamais simboliniais archetipiniais ženklais. Darbe atlikta simbolių analizė atskleidžia sudėtingą romano ,,Giria” (ir viso romanų ciklo ) intertekstualumą ir jo kultūrinius kontekstus: biblinį, istorinį, folklorinį ir kt. / This research paper analyses Petras Dirgela‘s novel ‘‘Forest‘‘, the second part of the ‘‘Homeless Book‘‘ from the book series ‘‘Kingdom‘‘. P. Dirgela is the reformer of historical Lithuanian novel and the creator of the historiosphic view of Lithuania. There is a considerable number of historical cultural symbols, complex metaphors and figurative meanings in most of the author‘s works. This paper deals with symbolic meanings of archetipical signs in the novel. A special enphasis is put on the symbolic meanings of earth, road, human being, and God. The main elements which are prominent in the whole book series are earth and road. Earth connects the destiny of the characters in ‘‘Forest‘‘ with nature, its godesses, motherhood and other virtues. Road, on the other hand, is perceived as historical experience and life of the whole nation and the search for their homeland. The motif of journey is important to all the characters of ‘‘Forest‘‘ but it is especially significant to the protagonist of the novel Terese Kerpiene. The story of her life is strongly related to all the symbolic archetipical signs analysed in the paper. The analysis of symbolic meanings in the research paper reveals complicated intertextuality and its biblical, historical and foloclore contexts in both the novel ‘‘Forest‘‘ and the whole book series.

Augustas Strindbergas (1849-1912) – švedų dramaturgas, moderniojo teatro pradininkas, pirmasis literatūroje panaudojęs siurrealistinę stilistiką. Dramaturgo domėjimasis sapnais, pasąmone, mitologija, religija, ezoterika atsispindėjo vėlyvajame kūrybos laikotarpyje parašytose sąlygiškosiose pjesėse – „Kelias į Damaską” (1898-1904), „Sapnas” (1902) ir „Šmėklų sonata“ (1907). A. Strindbergas šioje trilogijoje atvėrė kolektyvinėje pasąmonėje slypinčius herojaus ir motinos archetipus. Herojaus archetipas išreiškia žmogaus dvasios įkalinimą materialiojoje realybėje – Žemės Motinos karalystėje. Darbe siekiama pažvelgti į tai, kaip šie archetipiniai įvaizdžiai yra atskleidžiami rašytojo sąlygiškosiose pjesėse ir pagal jas pastatytuose lietuvių režisierių darbuose. Darbe analizuojami šie spektakliai: G. Padegimo „Kelyje į Damaską” (1986, KVDT), „Šmėklų sonata” (1998, KVDT), S. Varno „Sapnas” (1994, PDT), J. Vaitkaus „Sapnas” (1995, LVADT) ir O. Koršunovo „Kelias į Damaską” (2007, KDT). Atlikus dramų analizę, nustatyta, jog A. Strindbergo pjesėse tamsiosios Žemės Motinos archetipas perteikiamas per gyvenimo-sapno metaforą, kuomet materialioji realybė vaizduojama kaip iliuzinis, netikras, sapniškas pasaulis, sudarytas iš prieštaringų gėrio ir blogio polių. Herojaus archetipinį įvaizdį dramose įkūnija pagrindiniai veikėjai, o antraeiliai personažai dramaturgo vaizduojami kaip tam tikri skirtingi pagrindinių veikėjų vidiniai aspektai. Ištyrinėjus spektaklius, prieita prie išvados, jog G... [toliau žr. visą tekstą] / August Strindberg (1849-1912) – Swedish playwright, the first who used surrealist stylistics in literature, the father of modern theatre. He was studying dreams, unconscious, mythology, religion, occultism, gnosticism – he used these knowledge in conventional dramas, written in his late period of his creation: To Damascus (1898-1904), A Dream Play (1902) and The Ghost Sonata (1907). In this trilogy A. Strindberg opened archetypes of collective unconscious – the mother and the hero. The archetype of hero means imprisonment of human soul in the material reality – the kingdom of Terrible Mother. This work is dedicated to look how these These archetypal images are represented by writer and in the performances of Lithuanian directors: To Damascus (1986, KVDT) and The Ghost Sonata (1998, KVDT) of G. Padegimas, A Dream Play (1994, PDT) of S. Varnas and To Damascus (2007, KDT) of O. Koršunovas. The results of analysis of plays showed that the archetype of Terrible Mother in A. Strindberg‘s plays is conveyed through life-dream metaphor, when the material reality portrayed as a illusory dream world, consists of the contradictory poles of good and evil. The main actors in dramas embody an archetypal image of the hero, and secondary characters are portrayed as a number of different aspects of the hero’s inner world. Explored performances led to the conclusion, that G. Padegimas and O. Koršunovas use the spiritual journey archetype, S. Varnas and J. Vaitkus – the Terrible Mother... [to full text]

Šis magistro darbas yra mėginimas pateikti Jungo teorijos susiformavimo prielaidas ir jos pagrindinio atramos taško – archetipų – sampratą. Pagrindinis Jungo dėmesys sutelktas į asmenybės vidinius išgyvenimus. Patirtis yra svarbiausia pažinimo procese. Jungo išeities taškas – žmogaus egzistencija. Jungas mano, kad tik subjektyvus pažinimas reikšmingas, tačiau toks pažinimas visuomet daugiau ar mažiau atspindi tai, kas bendra visai žmonijai. Subjektyvaus pažinimo pločiui ir gyliui svarbiausia pasaulėžiūra, kuri yra ne kas kita, kaip nuolat tampanti sąmonė. Tiek pasaulis, tiek žmogus keičiasi, todėl nuolatinis naujų turinių perkėlimas į sąmonę - būtina pasaulėžiūros praplėtimo ir atsinaujinimo sąlyga. Platesnė pasaulėžiūra lemia aiškesnį įsižiūrėjimą į pasaulio reiškinius ir asmenines tipines nuostatas. Jungo manymu, kiekvienas žmogus yra unikalus, jo pasaulio ir savęs matymo būdas yra savitas, priklausantis nuo psichologinio tipo. Tokios nuomonių įvairovės, požiūrių reliatyvumo kompensavimo funkciją atlieka žmogaus įgimtas polinkis formuoti ar atkurti bendrąsias idėjas. Sąmonę Jungas laiko nedidele visos psichikos dalimi. Egzistuoja individuali pasąmonė su labiau asmeniniais, unikaliais turiniais, ir kolektyvinė pasąmonė su universaliais visai žmonijai turiniais. Būtent kolektyvinėje pasąmonėje, kurią žmogus atsineša su savimi ateidamas į šį pasaulį, slypi archetipai. Jie yra paveldimas sugebėjimas formuoti idėjas, kurios užpildomos patirties turiniu. Įgimtos ne pačios idėjos... [toliau žr. visą tekstą] / This master work is attempt to reveal Jung‘s theory background and to give it‘s main base – archetypes – conception. Jung‘s focus of attention pointed on individual‘s inner life. Own experience is the most important thing in a process of knowledge. Jung‘s beginning is human existence. He thinks that only subjective knowledge is significant. However this kind of knowledge also represents generality more or less. World-view is fundamental to subjective knowledge depth and width. World-view is nothing more nor less than constantly becoming consciousness. Extensive world-view is critical to more clear double-take on universe phenomenones and individual typical attitudes. Jung thinks that every person is unique, everyone sees himself and the universe differently and it depends on psychological type. This opinion variance and attitude relativism needs compensation. This function belongs to inborn human tendency to model general ideas. In Jung‘s theory consciousness is a small part of psyche. There is individual subconsciousness with unique, individual content and collective subconsciousness with universal content. Collective subconsciousness is heritable and it contains archetypes. This is heritable capability to form the ideas, which are completed with own experience content. Not the ideas are heritable, but tendency to create recurrent images and motives at all times and places. However Jung thinks that archetypical forms phenomenon could stand on conditionally mental or even... [to full text]

Swiss psychoanalyst Carl Gustav Jung describes the encounter with the archetype of the shadow as the initial step to be taken by any individual seeking to initiate the individuation process. Jung observes a close relationship between this process and religion, suggesting that a psychologically beneficial religion can help guide the subject through individuation. Yet Jung finds few existing religious traditions that satisfy his criteria. Wicca, a neopagan religion popular in Europe and North America, presents itself at times as consciously psychological, striving to lead the practitioner to a goal of self-transformation, yielding a product that strangely resembles the individuated person. The objective therefore becomes not to criticize Wiccan religious claims, nor to deconstruct Jungian philosophy, but to identify the points of intersection between Wiccan theology/theology and Jungian psychology of religion, with a particular emphasis on the archetype of the shadow.

If, as author Toni Morrison believes, we tell stories about what we find most terrifying, then our cultural narratives suggest an overwhelming preoccupation with the murderous mother ??? the monster in our minds. This dissertation examines some of the most powerful and enduring stories told about the murderous mother and considers how these stories are shaped by the unconscious fears and fantasies that dominate the cultural psyche. Revolving around the idea of infanticide as an ???imaginary??? crime, this dissertation uncovers the psychoanalytic foundations of the obsessive telling and consumption of stories of maternal child-murder in Western culture and contends that infanticide narratives can be read as symptoms of psychocultural dis(-)ease. Underlying all stories about the murderous mother is an unconscious fear of infanticide and fantasy of maternal destructiveness that is repressed in the individual psyche. These fears and fantasies are expressed in our cultural narratives. Chapter 1 examines fairytales as the literary form that most clearly elaborates individual fears and psychic conflict and locates the phantasmic murderous mother within psychoanalytic narratives of individuation. Chapter 2 shows how individual fears and fantasies of maternal monstrosity are transferred to society and revealed in the myths through which our culture is transmitted. Chapters 3 and 4 focus on the particular neuroses of ancient Greek society and early modern culture and consider stories of the murderous mother that most powerfully reflect anxieties of maternal origin and fantasies of maternal power. Chapters 5 and 6 shift to a contemporary setting and consider stories that reveal, in differing ways, how the murderous mother haunts the cultural psyche. Examining a variety of texts and drawing material from a spectrum of disciplines, including law, literature, criminology, theology, philosophy, and medicine, this dissertation concludes that it is only by exposing the underpinnings of our cultural stories about the murderous mother that we can hope to break free from the unconscious attitudes that imprison us. Emerging from this study is an original and important theoretical framework concerning conceptualisations of infanticide, the ways in which we imagine maternal child-murder and the limits of that imagination, and how we might escape the murderous maternal monster buried deep in the labyrinths of the mind.

The novel Children Of The Earth is about transformation. It uses Ovid's Metamorphoses as a metaphor for the processes which occur in the psyche of each character, and is based on Jungian insights into myth and alchemy. Archetypes that underlie the unconscious processes of all humanity are seen in the symbolism of three very different religious traditions, namely Greek mythology, the Hebrew Old Testament and Australian Aboriginal beliefs. I explore the ways in which these three great mythologies might have converged in colonial South Australia. The story deals with the troubled marriage of isolated settler couple, Hestia and Adam George, and the effects on it of three people who come into their lives. Itinerant German mineralogist Johannes Menge ( based on a real life pioneer ) is a self-taught, eccentric polymath, and a devout but unorthodox exponent of the Bible. In Jungian terms he fulfils the role of an archetypal, but flawed, ' Wise Old Man'. Menge represents nineteenth century Protestantism, albeit still trailing some arcane superstitions. His protégé, a disgraced young teacher of classics, calls himself Hermes, and represents the role of Greek mythology in European civilization. Reliving the life of the mercurial god in the antipodes, he becomes messenger, trickster and seducer. Unatildi, an Indigenous girl whom Adam finds in a burnt-out tree trunk, is an archetypal maiden. She introduces the Europeans to the mythology of their new land, as sacred for her people as the Bible is for Johannes Menge. Each of these three characters plays a part in transforming the marriage of Adam and Hestia, and each, in turn, undergoes a personal metamorphosis. Aboriginal women act as midwives at the birth of the love-child of Hestia and Hermes. Named Sophia, after the goddess of wisdom, the new child is thought to have inherited the miwi spirit of Unatildi's lost infant. On his deathbed, as Menge bequeaths his wisdom to his Australian friends, he predicts that Sophia will understand the sacredness of all spiritual life. Eventually Hestia and Adam find themselves changed by their encounters with the archetypes of myth. News of Menge's death on the goldfields gives them the courage they need to begin rebuilding an honest relationship. The novel is 107,400 words in length and is accompanied by an exegesis of 20,170 word, entitled Myth And Alchemy In Creative Writing. The exegesis describes the interactive process of researching and writing, as well as exploring the value of Jungian concepts for creative writing, and current issues of creating Indigenous characters. There is an emphasis on the Jungian approach to mythology and alchemy. / Thesis (Ph.D.)--School of Humanities, 2006.