[ES] Hay cantidad de símbolos en las grutas y abrigos naturales que evidencian que desde la noche de los tiempos, el ser humano ha sentido la necesidad intrínseca de hacer arte, y por ello comenzó a crear los primeros signos, y aunque este grabador o grabadora primitivo no distinguía entre signo y símbolo, el inconsciente colectivo ha actuado de hilo conductor, conectado a las sucesivas generaciones de artistas a través del tiempo, y el espacio con los arquetipos creados por ellos. Así, llegamos en pleno S. XX al barrio parisino de Montparnasse, donde encontramos al pintor y grabador inglés S.W. Hayter, fundador del emblemático Atelier 17 en 1927, quien no solo puso a las artes gráficas en un lugar de reconocimiento significativo e innovó en métodos técnicos de estampación como The Viscosity Printing, sino que buscó nuevas maneras de contactar con lo más auténtico de su ser, para dejarse fluir, y a modo de trance inducido, abrir su inconsciente, y con el buril como herramienta incidir libremente sobre la plancha, para luego dar forma a los primeros signos incisos en ella. Técnica que enseñaba en su taller para dar libertad, y que cada artista pudiera conectar con su verdadera esencia en busca de su propio signo, lo cual, según C.G.Jung, que símbolos ancestrales aparecieran en la obra grabada de estos artistas modernos, no es extraño. Es pues evidente que existe una conexión psicológica y antropológica que hace que, en la actualidad, estas grafías sigan aflorando, resonando y comunicando, aunque de otra manera, cubriendo otras necesidades, contando otras historias, pero claramente permanecen. Hayter con su obra, e innovadora metodología de creación amén de con su memoria escrita, ha dejado evidenciado este atávico legado, visible también a través de los y las artistas del Atelier 17 y del Taller Contrapoint y desde allí, nos sigue animando a dejarnos llevar, para descubrir e ilustrar visualmente los arquetipos ancestrales que aún resuenan dentro de nosotros, de una manera diferente,con cada propio signo. / [CA] Hi ha quantitat de símbols en les grutes i abrics naturals que evidencien que des de la nit dels temps, el ser humà ha sentit la necessitat intrínseca de fer art, i per això va començar a crear els primers signes, i encara que este gravador o gravadora primitiu no distingia entre signe i símbol, l'inconscient col·lectiu ha actuat de fil conductor, connectat a les successives generacions d'artistes a través del temps, i l'espai amb els arquetips creats per ells. Així, arribem en ple S. XX al barri parisenc de Montparnasse, on trobem el pintor i gravador anglés S.W. Hayter, fundador de l'emblemàtic Atelier 17 en 1927, qui no sols va posar a les arts gràfiques en un lloc de reconeixement significatiu i va innovar en mètodes tècnics d'estampació com The Viscosity Printing, sinó que va buscar noves maneres de contactar amb el més autèntic del seu ser, per a deixar-se fluir, i a manera de tràngol induït, obrir el seu inconscient, i amb el burí com a ferramenta incidir lliurement sobre la planxa, per a luego donar forma als primers signes incisos en ella. Tècnica que ensenyava en el seu taller per a donar llibertat, i que cada artista poguera connectar amb la seua verdadera essència a la cerca del seu propi signe, la qual cosa, segons C.G.Jung, que símbols ancestrals aparegueren en l'obra gravada d'estos artistes modernos, no és estrany. És perquè evident que hi ha una connexió psicològica i antropològica que fa que, en l'actualitat, estes grafies continuen aflorant, ressonant i comunicant, encara que d'una altra manera, cobrint altres necessitats, comptant altres històries, però clarament romanen. Hayter amb la seua obra, i innovadora metodologia de creació a més de amb la seua memòria escrita, ha deixat evidenciat este atàvic llegat, visible també a través dels i les artistes de l'Atelier 17 i del Taller Contrapoint i des d'allí, ens continua animant a deixar-nos portar, per a descobrir i il·lustrar visualment els arq. / [EN] There are many symbols in caves and natural shelters that show that since the dawn of time, human beings have felt the intrinsic need to make art, and therefore began to create the first signs, and although this primitive engraver or engraver did not distinguish between sign and symbol, the collective unconscious has acted as a common thread, connecting successive generations of artists through time and space with the archetypes created by them. Thus, we arrive in the middle of the 20th century in the Parisian district of Montparnasse, where we find the English painter and engraver S.W. Hayter. Hayter, founder of the emblematic Atelier 17 in 1927, who not only brought the graphic arts to a place of significant recognition and innovated in technical printing methods such as The Viscosity Printing, but also sought new ways to contact the most authentic part of his being, to let himself flow, and in a kind of induced trance, to open his unconscious, and with the burin as a tool, to work freely on the plate, to then give shape to the first signs incised on it. A technique he taught in his workshop to give freedom, so that each artist could connect with his true essence in search of his own sign, which, according to C.G.Jung, is not strange that ancestral symbols appear in the engraved work of these modern artists. It is therefore evident that there is a psychological and anthropological connection which means that, today, these graphics continue to emerge, resonate and communicate, albeit in a different way, covering other needs, telling other stories, but clearly they remain. Hayter, with his work and innovative creative methodology as well as with his written memory, has made this atavistic legacy evident, visible also through the artists of Atelier 17 and the Contrapoint Workshop, and from there, he continues to encourage us to let ourselves be carried away, to discover and visually illustrate the ancestral archetypes that still resonate within us, in a different way, with each sign itself. / Gómez García, MDR. (2023). Signo, arquetipo y símbolo en la obra gráfica de Hayter, un artista con raíces ancestrales y su influencia en los artistas del Atelier 17 [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/194058

S'inspirant de l'inconscient collectif jungien, « détaché des sphères personnelles, exist[e] en marge de celles-ci, [...] possède un caractère tout à fait général et [...] ses contenus peuvent se rencontrer chez tous les êtres1 », le concept de la psychosphère, tel que présenté dans la télésérie américaine True Detective (HBO, 2014), en est la trame de fond narrative. Décrire l'invisible et l'intangible n'est possible que par l'étude de ses manifestations. Ce mémoire s'intéresse donc aux phénomènes et aux concepts qui rendent possible la représentation de ce que Ralph Noyes décrit comme un « vast and complex cauldron of ideas, memories, volitions, desires and all the other furniture of conscious experience and unconscious mental functioning2 ». Outre les questions plus larges de la généalogie du récit, la poétique narrative de la psychosphère relève essentiellement de l'archive: True Detective fait maintes allusions à la fiction gothique américaine. Celles-ci désignent à leur tour une explication transhistorique d'un retour à la violence ritualisée. Toutefois, cette explication, s'il en est une, demeure fragmentée, incohérente et ultimement différée. / Inspired by Jung's collective unconscious, the concept of a psychosphere, as seen in HBO's hit series True Detective (2014), underlines the narrative structure of the show. Describing the invisible and the intangible is only made possible by the study of its manifestations. This thesis analyses the phenomena and concept which enable the representation of what Ralph Noyes describes as a « vast and complex cauldron of ideas, memories, volitions, desires and all the other furniture of conscious experience and unconscious mental functioning3 ». Apart from broader questions of genealogy, the narrative poetics of the psychosphere are essentially archival: True Detective contains many allusions to previous Gothic fictions, which point toward an trans-historical explanation for the return of ritualized violence. However, any such explanation is fragmented, incoherent, and ultimately deferred.

The aim of this thesis is to cover the structure and functioning of archetypes, stereotypes or emblems in selected genres of popular literature - the romance novels and comics. A similar structure of mythization in the popular genres is revealed through mutual comparison. Selected works are analyzed on the basis of Jungian psychology and its concepts of the unconscious and the archetypal image. The original myths, fairy tales, other popular genres and some works of the European fictional tradition are involved in the comparison. Among others, this thesis also draws from approaches included in various works of sociology, ethnography, Religious Studies and feminist literary criticism. The comparative analysis has shown that provable connection between popular literature and the original myth structures can be traced and the collective unconscious serves as a transmission medium. The genres of popular literature are worthy of further research because they reflect not only contemporary social situation but also essential structures of the human psyche. This thesis clearly demonstrates that the romance novels and comics are valid parts of the literary sphere and suggests one of the possible ways suitable for further study of the subject.

Many recent studies confirm that the fantasy genre is based on ancient myths. Contemporary authors of fiction create new versions of myths, often using ancient “natural” and cultural symbols. Neil Gaiman is one of these tellers of modern myth. His works offer multiple possibilities for interpretation of well-known stories, reworked in a new way and filled with new layers of significance. Using Jungian archetypes as a prism for the analysis, this essay focuses on the possibility to relate the motif of the Triple Goddess, a triad of magical or divine female figures, present in many of the Western Europe mythologies, to female characters from Neil Gaiman’s Snow, Glass, Apples and The Ocean at the End of the Lane. Through a close reading of selected passages of the text, this essay exemplifies how Neil Gaiman uses archaic symbols and the motif of the Triple Goddess to connect his audience to the collective unconscious via manifestations of the anima archetype, one of many aspects of the collective unconscious. / Flera nutida studier slår fast att fantasigenren har sitt ursprung i gamla myter. Samtida författare i genren skapar nya myter och använder ofta symboler från gamla kulturer och naturfenomen. En av dessa författare är Neil Gaiman, en förmedlare av moderna myter. Välkända berättelser och historier får ett nytt liv genom hans kreativa stil och fantasi, fyllda med nya betydelser och tolkas ur många olika synvinklar. Genom användningen av Jungianska arketyper som en analytisk metod, fokuserar denna uppsatsen på att koppla den Tredelade gudinnan med kvinnliga karaktärer i Neil Gaimans Snow, Glass, Apples och The Ocean at the End of the Lane. Den Tredelade gudinnan är förknippad med en triad av magiska och gudomliga kvinnliga figurer, närvarande i flera västeuropeiska mytologier. Genom när läsning av särskilda avsnitt i texten, exemplifieras hur Gaiman använder arkaiska symboler för att koppla läsaren till det kollektiva omedvetna. Dessutom tydliggörs likheten mellan den Tredelade gudinnans personifikation och manifestationer av arketypen anima, som en av flera aspekter av det kollektiva omedvetna.

This dissertation analyses the protagonists in The Dispossessed, The Left Hand of Darkness, and Tehanu by Ursula K. Le Guin, and looks at the extent to which they confront the Jungian archetype of the anima. I demonstrate that individuation and wisdom are not achieved in these characters until they confront the anima archetype within their individual psyches. I analyse the experiences and behaviour of each protagonist in order to identify anima confrontation (or lack thereof), and I seek to prove that such confrontation precipitates maturity and wisdom, which are goals of the hero's journey. The essential qualities of the anima archetype are wisdom, beauty and love. These qualities require acceptance of vulnerability. I argue that the protagonist is far from anima integration when he displays hatred and fear of vulnerability, and conclude that each protagonist is integrated with the anima when wisdom, beauty and love are evident in his character. / English Studies / M.A. (English)

This dissertation analyses the protagonists in The Dispossessed, The Left Hand of Darkness, and Tehanu by Ursula K. Le Guin, and looks at the extent to which they confront the Jungian archetype of the anima. I demonstrate that individuation and wisdom are not achieved in these characters until they confront the anima archetype within their individual psyches. I analyse the experiences and behaviour of each protagonist in order to identify anima confrontation (or lack thereof), and I seek to prove that such confrontation precipitates maturity and wisdom, which are goals of the hero's journey. The essential qualities of the anima archetype are wisdom, beauty and love. These qualities require acceptance of vulnerability. I argue that the protagonist is far from anima integration when he displays hatred and fear of vulnerability, and conclude that each protagonist is integrated with the anima when wisdom, beauty and love are evident in his character. / English Studies / M.A. (English)

No description available.

Le développement simultané du cinéma et de la psychanalyse a donné lieu à de nombreuses études confrontant et associant ces deux sphères. Cette thèse interroge plus particulièrement le transfert comme phénomène se manifestant dans la rencontre entre le spectateur et le film, et s’appuie sur les théories de psychanalyse jungienne. À partir de la prise en compte d’un cinéma analytique, associant réflexivité et thématique psychologique, l’hypothèse émise est celle de la présence de « psychés-films », facilitant l’étude du phénomène de transfert dans l’expérience spectatorielle. À travers leur construction spatiale et temporelle et par leur constitution figurale, ces « psychés-films » s’apparentent à des psychés projetées à l’écran et visuellement accessibles. Dans son acception jungienne, le transfert est un phénomène transpersonnel aux conséquences psychiques et physiques et qui engage deux individus dont les inconscients communiquent entre eux. En mettant en évidence les spécificités d’un tel phénomène au cinéma, cette thèse interroge la possibilité d’envisager un inconscient propre au film, notamment à l’aide de théories d’esthétique du cinéma, et les conséquences éventuelles, dans le corps et dans la psyché, d’une rencontre transférentielle entre le spectateur et le film. Afin d’étudier la possibilité d’un transfert dans l’expérience spectatorielle, cinq films interprétables en tant que « psychés-films » sont analysés sous un angle jungien : Persona et L’Heure du loup, réalisés par Ingmar Bergman et Antichrist, Melancholia et Nymphomaniac, réalisés par Lars von Trier. Pour ce faire, cette recherche s’effectue suivant des perspectives psychanalytique (Jung, Ferenczi, Freud, Abraham et Török), esthétique (Brenez, Lefebvre, Vancheri) et philosophique (Damasio, Derrida), et par la prise en compte d’un spectateur idéal. / The simultaneous development of cinema and psychoanalysis led to many studies confronting and associating these two fields. This thesis examines more specifically transference as a phenomenon arising in the encounter between spectator and film, and is based on Jungian psychoanalytic theories. Considering an analytic cinema, which associates reflexivity and psychological themes, I hypothesised the existence of “psyche-films”, enabling the study of the psychoanalytic transference within spectator’s experience. Through their spatial and temporal constructions and their figural composition, these “psyche-films” are akin to psyches projected on screen and visually accessible. According to Jung, transference is a transpersonal phenomenon with psychological and physical consequences, involving two individuals whose unconscious communicate together. Bringing out the characteristics of such a phenomenon, this thesis explores the possibility of considering the film’s own unconscious, in particular with the help of film aesthetics theories, and questions the consequences, inside body and psyche, that might be caused by the transferential encounter between spectator and film. In order to study the possibility of such a transference in the spectator’s experience, five films regarded as “psyche-films” are analysed using a Jungian perspective: Persona and Hour of the Wolf, directed by Ingmar Bergman and Antichrist, Melancholia and Nymphomaniac, directed by Lars von Trier. To this end, this research is performed using psychoanalytic (Jung, Ferenczi, Freud, Abraham and Török), aesthetic (Brenez, Lefebvre, Vancheri) and philosophical (Damasio, Derrida) perspectives, and considering an ideal spectator.

No description available.