<p>Abstract</p><p>Titel: Myter som sanning i ”Battlestar Galactica”</p><p>Författare: Ulf Liedström och Maria Dovgan</p><p>Handledare: Malin Nilsson</p><p>Examinator: Veronica Stoehrel</p><p>Typ av arbete: C-uppsats i Medie- och Kommunikationsvetenskap, 15 hp HT-07</p><p>Plats: Högskolan i Halmstad</p><p>Syfte: Syftet med studien är att ta reda på vilka myter som finns i TV-serien ”Battlestar Galactica” och hur de används för att säga något om vår kontemporära syn på vetenskap, politik och religion.</p><p>Metod: Vi har använt oss av en kvalitativ semiotisk metod med djuppsykologiska teorier av C. G. Jung</p><p>Resultat: Vi har kommit fram till att myter i högsta grad används i serien och att de används för att få tittaren till att reflektera över det nutida samhällets brister och därmed är serien också väldigt samhällskritisk till sin karaktär.</p><p>Nyckelord: Battlestar Galactica, Science Fiction, Semiotik, Roland Barthes, Carl Gustav Jung</p>

Abstract Titel: Myter som sanning i ”Battlestar Galactica” Författare: Ulf Liedström och Maria Dovgan Handledare: Malin Nilsson Examinator: Veronica Stoehrel Typ av arbete: C-uppsats i Medie- och Kommunikationsvetenskap, 15 hp HT-07 Plats: Högskolan i Halmstad Syfte: Syftet med studien är att ta reda på vilka myter som finns i TV-serien ”Battlestar Galactica” och hur de används för att säga något om vår kontemporära syn på vetenskap, politik och religion. Metod: Vi har använt oss av en kvalitativ semiotisk metod med djuppsykologiska teorier av C. G. Jung Resultat: Vi har kommit fram till att myter i högsta grad används i serien och att de används för att få tittaren till att reflektera över det nutida samhällets brister och därmed är serien också väldigt samhällskritisk till sin karaktär. Nyckelord: Battlestar Galactica, Science Fiction, Semiotik, Roland Barthes, Carl Gustav Jung

Uppsatsen innehåller en beskrivning av research och process i mitt examensarbete. Projektet är en digital, interaktiv värld där man möts av symboler vanliga i drömmar, sagor och myter.

Inaug. Diss.--Heidelberg. / Vita. Bibliography: p. 92-109 (3d group).

Thesis (Ph.D.)--University of Western Sydney, 2008. / A thesis presented to the University of Western Sydney, College of Arts, School of Psychology, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographies.

Diss. : Philosophie : Zürich : 1981.

Focusing largely on the analysis of the representations of feelings and thoughts of literary characters or even the hidden “desires” of their authors, literary criticism for the most part has neglected to discuss the portrayal of the ‘inside’ of literary characters as a construction. Similarly, the critical discussion of texts by psychological theorists such as Sigmund Freud and C.G. Jung attests to an oversight regarding the fact that they had to contend with the exact same challenge their colleagues in literature faced, namely the linguistic construction of a descriptive model for something singularly elusive and essentially non-verbal. The turn of the nineteenth to the twentieth century in particular – just when the schools of Analytical Psychology, Psychoanalysis and Gestalt theory were emerging – proved to be a period in which literature responded to a particularly high popular interest in gaining insight into the supposed ‘inner world’ of literary characters. In pairing literary texts of that period by Richard Beer-Hofmann, Arthur Schnitzler, and Robert Musil with theoretical texts by Jung, Freud, and Robert Musil, this project examines the deployment of symbol, allegory and metaphor as well as the use of “Gestalten” – figures or shapes – in order to simulate the ‘inside.’ The first chapter examines the writings of C.G. Jung and Richard Beer-Hofmann’s novella, Der Tod Georgs (1900), for ways in which their respective construction of the ‘inside’ relies on the trope of symbol. The second chapter does the same in regard to allegory with the writings of Freud, specifically his Bruchstück einer Hysterie-Analyse (1905), and Arthur Schnitzler’s stream-of-consciousness novella, Fräulein Else (1924). The final chapter juxtaposes literary writings with psychological texts by the same author, Robert Musil, and demonstrates that the construction of the ‘inside’ in his novella, Die Vollendung der Liebe (1911), relies heavily on metaphors informed by his great familiarity with key ideas of Gestalt theory. In conclusion, this dissertation argues that the charting of inner human landscapes is essentially a narrative endeavor, in literature as in psychology.

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In spite of many indications to the contrary, not least the tenor of the times which includes both the remnant left after the "death of God" as well as the rise of New Age religiosity, this thesis proposes, using feminist and feminine archetypal thinking, that the theory of culture that Christianity, and specifically Catholicism, formulates, is more relevant than ever for the culture it had a part in creating. Within the frame of Christian value reality, a "religion of relatedness" is centred on the Great Commandment which orders loving relatedness to God, then to oneself, and finally to others. What this has to mean in practice is that our relatedness to others depends on our relatedness with ourselves which depends on our relatedness to a beneficent God. Our relatedness to ourselves and to God can be appreciated and evaluated through the lens of Jungian thought - in particular Jung's theory of individuation. Our relatedness to others and the success of that as expressed in the health of our cultural milieu can be appreciated and evaluated through the lens of Lacanian discourse theory. Both individual and cultural growth are part of a developmental and maturation process leading to the "paradox, depth and intergenerational responsibility" that Fowler (1981) describes as characteristic of a Stage 5 level of faith in his Stages of Faith model. That complexity in Stage 5 understanding is seen as essential for growing out of the social and environmental problems that beset human life at this point in its history.