This thesis comprises an exploratory study of the dynamic of communication symbols during growth and transcendence cycles of the unique individual. It moreover explores how the quintessence of the individual, the quantum self, transforms itself through the use of intrapsychic communication. The exploration focuses on the confluence of a subjective, inner experiential reality and reality as a social construct. This inner, subjective and experiential reality of the individual relates to the correspondence between the transcendence of consciousness and the creation of meaning derived from the Jungian constructs of archetypal images, symbols and myths. The eclectic nature of the study necessitates a multidisciplinary approach, and consequently, theories and constructs in Depth and Transpersonal Psychology, the New Physics (Quantum Physics), Complexity and Chaos Theories, Mysticism, and Philosophy are explored and integrated with contemporary communication notions of the self, symbols and consciousness. Integration and inclusiveness consequently form the bedrock of this study. Archetypal communication symbols are considered as the derivatives of a subjective, inner reality. The exploration and comprehension of an inner reality are considered to be of prime significance to the transcendence of the self: the individual as a unique multifarious being. An archetypal and mythical semiotic textual analysis of ‘The Alchemist’ by Paolo Coehlo, and an individual case analysis of dream symbols and a self-report based on the interpretation of a dream theme by using active imagination indicate that a transcendental spirituality, and consequently an inner, subjective transcendental reality are imminent in the individual. An intrinsic need for equanimity and unity is reflected in the images, symbols and myths of the Self as archetype of meaning nested in the collective unconscious. Ensuing from the exploration in this study, an experiential and ‘lived’ theory and model of the dynamic process of intrapsychic communication are described and depicted. Moreover, the employment of archetypal images, symbols and myths of the Self during intrapsychic communication are described and contrasted with a complex adaptive system. The relationship between the self, consciousness, and intrapsychic communication is hence depicted and described in terms of an experiential theory of intrapsychic communication as a complex adaptive system iterating between balance and harmony, and chaos. Intrapsychic communication, which represents all the levels of communication within the Self with its corresponding levels of consciousness, facilitates both awareness and integration of the inner subjective reality, and the external socio-cultural reality of the ego which is at the core of the Self. It is asserted that the transcendence of consciousness cannot be experienced as a distinct experience. Rather, intrapsychic communication facilitates a sense and experience of the Self by an individual through the use of archetypal images, symbols and myths as represented in dream experiences of an individual and the text of a modern narrative. The inclusion of the archetypal spiritual dimension of the Self and the indication of an intrinsic need for wholeness, unity and transcendence in intrapsychic communication, alludes to a shared innate and universal heritage which cuts across all cultural and racial boundaries. Since the study is of an exploratory nature suggestions for further study and research are also made. / Dr. H.L. Venter

Cette étude envisage de mettre en parallèle deux personnages féminins (Yseut et Wîs) issus de plusieurs récits médiévaux : les romans de Tristan et Le roman de Wîs et Râmîn. Ces personnages seront analysés sous l’optique de la théorie junguienne des archétypes et de l’Inconscient collectif. Le postulat de base sera donc de considérer que le même principe archétypique est à l’arrière-plan des deux personnages : le Féminin archétypique. Yseut et Wîs font partie de récits qui ont pour origine la mythologie celtique, pour la première, et la mythologie persane, pour la deuxième. A partir de ce constat, on peut voir comment l’élaboration des deux personnages est redevable d’autres images mythiques de la Féminité et de la Femme dans les contextes culturel et mythologique qui entourent chaque récit. Que savons-nous à vrai dire des héroïnes de ces histoires, de leur fonction et de leur rôle dans la construction de ces récits qui les mettent en scène? Retracer cette élaboration qui va de la mythologie à la littérature, repérer les échos des contes folkloriques et populaires qui résonnent encore dans les récits tels que nous les connaissons aujourd’hui, tels sont deux des objectifs primordiaux de cette étude. Une analyse des deux personnages féminins, en tant que symboles d’un même archétype, nous permettra de comparer la dynamique à l’égard du Feminin archétypique dans les deux productions littéraires, ainsi que de repérer leur rôle narratif dans les dénouments si différents des deux histoires. Yseut et Wîs seraient donc les cristallisations d’un imaginaire collectif autour de la Femme et de la Féminité. Elles sont apparues dans deux cultures différentes, à une même époque de l’histoire : le Moyen Âge. / In this work we will be comparing two feminine characters (Iseult and Vis) from several medieval stories: the romances of Tristan and the romance of Vis and Ramin. These characters will be analyzed using Jungian theory about archetypes and Collective Unconscious. Our basic premise considers that the same archetypal principle drives the two characters: The Archetypal Feminine. We know that the characters of Iseult and Vis belong to stories whose origins are mythological: Celtic origins for the heroine of Tristan romances and Persian origins for the heroine of Gorgani’s romance. Based on this, one can see how the drawing up of these two characters owes much to other mythical images of Femininity and Woman, in the cultural and mythological context of each literary work. What do we truly know and understand about the heroines of these important stories? What do we truly know and understand about their function and their role in the plot of these romances? This work holds two objectives related to these questions. One, to trace the drawing up of the characters from mythology to literature. The other, to identify the echoes of folktales and traditional literature which resonate in these stories even today. Analyzing these two characters as symbols of the same archetype, can allow us to compare the dynamic of the Archetypal Feminine into these literary works, and to identify their narrative function in the two different outcomes of the stories. Iseult and Vis would be then the crystallizations of a collective image about Woman and Femininity. They appeared in two different cultures, at the same moment of history: The Middle Ages.

The cinematic experience is often an emotional or ‘felt’ experience. In the aftermath of the film, it is challenging to indicate precisely how I was guided to react emotionally to the film. This study presents an investigation of the emotional cinematic experience from a Jungian critical reading. Jungian theory introduces a model of the psyche as consisting of, amongst other constructs, the collective unconscious and the archetypes. These archetypal contents manifest visually as symbols. These symbols guide the reader of the filmic text towards an emotional cinematic experience by activating, in particular, the archetype of the Self. Based on a review of the available scholarship in Jungian theory and film, this dissertation develops a Jungian conceptual framework consisting of notions and concepts that can describe, articulate and examine the psychological dynamics of an emotional cinematic experience. In a demonstration of how a Jungian approach to the text can highlight the dynamics of the emotional cinematic experience, the study presents a critical reading of M. Night Shyamalan’s films The Sixth Sense, Unbreakable and Signs. Using the Jungian practice of amplification, the study focuses on notions of the archetypal (contents and manifestations, particularly the archetype of the Self); individuation motifs; notions of the Apocalypse; and alchemical symbolism, all framed within an approach proposed by Jungian dream analysis. The symbolic aspect of film imagery is constructed by archetypal contents and individuation motifs that emphasise the emotional cinematic experience Based on the critical reading of Shyamalan’s film, this dissertation concludes that the emotional cinematic experience can be examined with specific reference to the emotional cinematic experience as ‘guided’ by the filmic images’ symbolic aspect. The Jungian framework developed by this study can be used to effectively investigate and articulate the emotional cinematic experience. / Dissertation (MA (Drama and Film Studies))--University of Pretoria, 2007. / Drama / MA / Unrestricted

In war propaganda you dehumanise your current or potential enemy by giving them undesirable traits. During the world wars it was common to see propaganda posters. During the cold war the posters evolved into television. In this paper we are examining potential instances of propaganda in video games.  We use an immersive research method with Call of Duty 4: Modern Warfare and compare the key scenes representing russians to enemy archetypes found in propaganda. We also use the dynamics of enmity to analyse how enmity is furthered through the russians context in the conflict in relation to the player.  We found that Russians show similar traits to enemy archetypes found in propaganda while the player is represented by a character portrayed as protecting the western world from nuclear war. In conclusion games serve as an interactive medium where players can be subject to propaganda messages where they need to accept taking actions in accordance with propaganda message that furthering enmity.

The primary focus of this thesis is the New York fiction by the prolific American writer Edith Wharton. The particular works discussed in this thesis are The House of Mirth, The Custom of the Country, and The Age of Innocence, completed by the collection of four novellas, Old New York, and also a selection of Wharton's short stories set in the city of New York. The main argument of the thesis could be encapsulated to say that Wharton's fiction lacks the individuality of the characters, and the main focus of the texts is on society and how society affects the archetypes of the characters created solely for the purposes of this thesis. It is divided into three intersecting chapters, the first topical chapter concentrating on New York as such and how the Gilded Age influenced the Big Apple. Moreover, Wharton and her own relationship with the city is discussed in this chapter as well, pointing at the fact that she was intimately familiar with the custom and the manners of the upper society of New York, which she later implemented in her fiction. Also, the description of naturalism and determinism are provided as those seem to be the genres most utilized by the author. The next chapter revolves around the notion of archetypes as Claude Lévi-Strauss introduced in his "The Structural Study of Myth," which...

This master thesis constitutes the feminist archetypal analyses of a novel Příspěvek k dějinám radosti written by Radka Denemarková. It approaches the problematics with an intesectional point of view focused on rape-revenge. The methodological and theoretical part introduces the work of the novelist Radka Denemarková and her style of writting that is characterized as feminine writting, which is also defined in the thesis and specified by examples. Besides analysis of archetypes which are part of feminist theoretical texts, the analytical part analyses particular characters of the novel that are divided in three groups: the characters that take revenge on rape, those characters who rape or are part of groups that rapes others, the third group links previous two and the characters are part of police investigations of a murder. The thesis analyses archetypes of femininity that prevail in the novel and masculinity that are in minority.

The theoretical part of this master thesis is based on the literary genre of the initiation novel, as presented by Daniela Hodrová. In an effort to gain a deeper insight into the novel's typical figures and spatial motifs, the theoretical part also contains a summary of archetypes described by C. G. Jung. In the practical part, principles of the initiation genre are demonstrated on the novels Demian and Steppenwolf written by the German author Hermann Hesse. The aim of the thesis is to provide a proof that the two novels can be assigned to the initiation novel genre and also to make use of the means presented in the theoretical part for an analysis of the initiation of the protagonists. The initiation in Demian is presented as a precursor of the initiation described in Steppenwolf. Therefore, the result of this thesis is also an attempt to present the philosophical connection between the analysed novels. KEYWORDS Demian, Steppenwolf, Hermann Hesse, initiation novel, Daniela Hodrová, archetype

This thesis is a literary analysis that discusses gender archetypes within two extensive literary works of Ladislav Klíma which he adapted into final pieces: Sufferings of Prince Sternenhoch and Glorious Nemesis. The methodological and theoretical part of the work examines the question of literary canon, defends feminist criticism as a legitimate approach to text analysis, looks back at the relatively short history of the use of gender as an analytical category, and represents a method of resistant reading. It also reflects the inspirational source of Klíma's authorship, the philosophy of Friedrich Nietzsche with an emphasis on gender aspects. Using classical feminist texts, works of literary theory, and the works that are central (not exclusively to feminist) analysis of (not only literary) archetypes identifies (mostly) female literary characters with some of the traditional (but also less common) archetypes - mother, witch, goddess of justice and fate, collaborator, and others. Except for archetypes, the thesis also discusses other gender (literary) aspects, for example the issue of stereotypical display of femininity and masculinity, the conceptualization of women as a capital, and women's connection with nature or female sexuality which is still often analyzed on the basis of the...

El presente trabajo de investigación consiste en el análisis del arquetipo del héroe postclásico en las películas y series de terror/thriller para la creación de una adaptación. Se busca describir las características que posee este arquetipo de personaje en tramas del género de terror / thriller. Así mismo, exponer cuales son las variables que cada formato posee: cine y televisión para poder realizar una adaptación. La investigación tiene como base la metodología cualitativa, debido a que se busca entender y exponer los procesos que conlleva el poder crear adaptaciones de un formato a otro. Además, las técnicas utilizadas son las de análisis de casos, ya que al ser un tema de enfoque audiovisual se centrará en analizar los códigos visuales y sonoros que se han empleado en este tipo de adaptaciones. / This research work consists of the analysis of the postclassic hero archetype in horror/ thriller movies and series for the creation of an adaptation. The aim is to describe the characteristics of this character archetype in plots of the horror/thriller genre. Likewise, expose which are the variables that each format has: film and television in order to carry out an adaptation. The research is based on qualitative methodology, because it seeks to understand and expose the processes involved in creating adaptations from one format to another. In addition, the techniques used are those of case analysis, since being an audiovisual approach, it will focus on analyzing the visual and sound codes that have been used in this type of adaptation. / Trabajo de investigación

Esta investigación analizará el uso de los arquetipos que perciben las mujeres en los mensajes publicitarios que construyen la identidad de marca y empoderamiento de la mujer. La publicidad representaba una imagen sesgada de la mujer la cual fomentaba prejuicios y estereotipos. Sin embargo, este pensamiento cambió con los años llegando presentar a una mujer que puede ser ama de casa, profesional y hermosa sin maquillaje como se representa en las campañas de Dove. Este cambio es por el uso de los arquetipos que representan los pensamientos del inconsciente colectivo que construyen la identidad de marca para darles un valor único y fomenten el empoderamiento de la mujer. El objetivo general es analizar la relación de la percepción de los arquetipos en la publicidad de Dove con el empoderamiento de mujer y la identidad de marca. La metodología es cualitativa, la investigación es exploratoria y las técnicas usadas son focus group y entrevistas personales. Por último, el público objetivo son mujeres de 20 a 25 años de NSE A y B que viven en Lima Metropolitana. Palabras clave: Arquetipo, identidad de marca, empoderamiento de la mujer, imagen femenina en la publicidad, Dove. / This research will analyze the use of the archetypes that women perceive in the advertising messages that build the brand identity and empowerment of women. The publicity represented a biased image of women which fostered prejudices and stereotypes. However, this thought changed with the years coming to present a woman who can be housewife, professional and beautiful without makeup as represented in Dove campaigns. This change is due to the use of the archetypes that represent the thoughts of the collective unconscious that build the brand identity to give them a unique value and promote the empowerment of women. The general objective is to analyze the relationship of the perception of the archetypes in Dove advertising with the empowerment of women and brand identity. The methodology is qualitative, the research is exploratory and the techniques used are focus group and personal interviews. Finally, the target audience is women from 20 to 25 years of NSE A y B who live in Metropolitan Lima. / Trabajo de investigación