Beim Vergleich der handschriftlichen Musiknoten des Dipper Mouth Blues und der berühmten Aufnahme von King Oliver’s Creole Jazz Band wird offensichtlich, dass es sich bei den Noten nicht um ein Leadsheet im Sinne einer Spielpartitur handelt. Die Aufnahme des Stücks mit dem Bandleader und Kornettisten King Oliver, dem Kornettisten Louis Armstrong, dem Posaunisten Honoré Dutrey, dem Klarinettisten Johnny Dodds, Bill Johnson am Banjo, Lil Hardin am Klavier und Baby Dodds an den Perkussionsinstrumenten macht nur Andeutungen an die notierte Melodie. Durch den Vergleich der Transkription der Aufnahme mit der Handschrift kann die Verbindung zwischen den beiden analysiert werden. Dabei wird klar, dass die Musiker*innen die Technik des modularen Kontrapunktes angewendet haben. Mithilfe des Konzepts der Archetypen von C.G. Jung kann die Handschrift adäquat klassifiziert werden. Ungeachtet der substantiellen Unterschiede zwischen Manuskripts und der Aufnahme ist ein gemeinsamer Nenner zu finden, ein Archetyp, welcher die Grundlage für alle Erscheinungsformen des Dipper Mouth Blues ist. / Comparing the copyright deposit of the Dipper Mouth Blues and the famous recording of King Oliver’s Creole Jazz Band, it becomes apparent that the music score is not intended to be used as a lead sheet in the sense of a playing score. The performance with the bandleader and cornet player King Oliver, the cornet player Louis Armstrong, the trombone player Honoré Dutrey, the clarinet player Johnny Dodds, Bill Johnson on banjo, Lil Hardin on piano and Baby Dodds on percussion instruments seems to only contain hints of the same tune in written form. The connection can be analysed by comparing the transcription of the recording with the score. It is found that the musicians apply a technique of modular counterpoint. The concept of archetypes as described by C.G. Jung is used in order to describe and find an appropriate classification for the notation of the copyright deposit. Despite the substantial differences between the score and the recording there is a common denominator, an archetype, that is the source of all manifestations of Dipper Mouth Blues.

This dissertation concurs with the Jungian postulation that certain psychological archetypes are inclined to be reproduced by the collective unconscious. In turn, these psychological archetypes are revealed to emerge in literature as literary archetypes. It is consequently argued that science fiction has come to form a new mythology because the archetypal images are displaced in a modern, scientific guise. This signifies a shift in the collective world view of humanity, or a shift in its collective consciousness. It is consequently argued that humanity’s collective consciousness has evolved from mythic thought to scientific thought, courtesy of the numerous groundbreaking scientific discoveries of the past few centuries. This dissertation posits as a premise that Pierre Teilhard de Chardin’s supposition of humanity’s collective consciousness evolving towards what he calls the Omega Point to hold true. The scientific displacement of the literary archetypes reveals humankind’s evolution towards the Omega Point and a cosmic consciousness. / English Studies / M.A. (English)

During the late 1970s and 1980s, feminist critics like Janice Radway began to reconsider so-called women’s genres, like romance novels and soap operas and melodramas, in order to address the forms of subversion and expressions of agency they provided female audiences. However, in spite of greater willingness to consider the progressive potential in romance narratives, there has been little such consideration given to stories of romance for the fighting female character—defined as a protagonist who uses violence, via her body or weapons, to save herself and others. The fighting female has received a good deal of attention from critics like Yvonne Tasker, Sherrie Inness, Rikke Schubart, and Phillipa Gates because she enacts transgressive forms of femininity. However, the typical response has been to ignore the intimate or romantic relationships she has with men or to critique them based on the assumption that such hetero-relationships automatically limit her agency and attenuate her representation as a feminist-friendly heroine. This view presumes that female empowerment opposes or can only be imagined outside the dominant cultural narratives that generally organize women’s lives around their hetero-relationships—whether sexual or platonic, familial or vocational. As I argue, some fighting female relationship narratives merit our attention because they reveal a new cache of plausible empowered female identities that women negotiate through their intimacies and romances with men. These negotiations, in turn, enable innovative representations of male-female relationships that challenge long-standing cultural scripts about the nature of dominance and subordination in such relationships. Combining cultural analysis with close readings of key popular American film and television texts since the 1980s, my dissertation argues that certain fighting female relationship themes question regressive conventions in male-female intimacies and reveal potentially progressive ideologies regarding female agency in mass culture. In essence, certain fighting female relationship narratives project feminist-friendly love fantasies that reassure audiences of the desirability of empowered women while also imagining egalitarian intimacies that further empower women.

Thesis (MPhil (Ancient Studies)--University of Stellenbosch, 2006. / This thesis explores the Star Wars films in terms of C.G. Jung's theories on the archetypes and the collective unconscious, particularly as described by Joseph Campbell in his discussion of the journey of the mythic hero. In Chapter 1 short definitions of relevant terms such as “myth,” “the collective unconscious” and “archetypes” are given. Chapter 2 is a short discussion of four Jungian archetypes relevant to the topic, namely the Shadow, Guide, Mother, and Father. Chapter 3 focuses on the archetype of the Self and the psychological process of individuation as described by Jung, and its relation to the mythic hero and his journey. In Chapter 4 Star Wars is analysed in terms of the theoretical framework set out in Chapters 1-3. Chapter 5 is the concluding chapter, in which certain conclusions are made pertaining to the mythic character and psychological function of Star Wars, i.e., that the films contain elements that are mythic in character and may therefore perform the same psychological functions as myth. It is also argued that the popularity of Star Wars can therefore be ascribed to the same psychological reasons as the popularity of myth. Some attention is also given to possible further areas of study in this field, such as the mythic character of some other popular phenomena (for example Harry Potter or The Lord of the Rings) and the function of myth and modern mythic equivalents as a community-shaping factor in people’s lives.

The purpose of this thesis is to explore the importance of the orphan hero in film and his resonance with the American people. It explores the orphan and the American identities, the archetypes found in myths, and the hero in American culture. The three heroes (Batman, Anakin Skywalker, and Harry Potter) represent certain aspects of orphan heroes: the capacity for sacrifice and the need to resist focusing on oneself. The type of hero each becomes has its source in the response he takes to his orphanhood. These young men suffered great loss early in their lives, but found the strength to sacrifice themselves for others, the ultimate sign of a hero.

<p>У романима Књига о Бламу и Употреба човека Александра Тишме доминантне теме јесу рат и судбина човека у рату, а посебно јеврејског човека. Говорити о романима Александра Тишме значи најпре говорити о трагању за идентитетом, о неприпадању и усамљености у свету који се доживљава као непрекидно страдање, као опасност, страховање, као трагање за безбедним местом за живот, да би се напослетку схватило да такво место не постоји, да су свуда само јед и патња. Ликови ових романа живе у тешким ратним околностима, али они носе још теже бреме јеврејске судбине, или у својим коренима једнако проблематичну подељеност, подвојеност између хришћанства и јудаизма. У оба случаја, свесни су своје издвојености, обележености пореклом које свакога часа може бити означено као непожељно за живот у заједници. Стога, стрепња и тескоба стални су пратиоци њихових судбина. У складу са овом поставком, Тишма анализира различите облике преживљавања у ратном и послератном добу (од мирења са злом, пасивности, трпљења, понижења, преко отпора, освете, насиља, све до поражавајућег сазнања да &bdquo;зло рађа зло&rdquo;) указујући на феномене времена у којем живимо. Аутор с горчином преиспитује постојање хуманистичких принципа у оваквом свету, као и улогу литературе у читавом процесу. Трагајући у својим романима, пре свега, за истином у свим аспектима живота, Тишма долази до сазнања да су насиље и зло неодвојиви део човекове природе, и то сазнање нуди као датост, као непомериву&nbsp;чињеницу. Улога књижевности јесте да разбија илузије, да подсећа на преживљено, да сведочи о ратним догађајима у светлу уверења да оно што није записано &ndash; не постоји.</p> / <p>U romanima Knjiga o Blamu i Upotreba čoveka Aleksandra Tišme dominantne teme jesu rat i sudbina čoveka u ratu, a posebno jevrejskog čoveka. Govoriti o romanima Aleksandra Tišme znači najpre govoriti o traganju za identitetom, o nepripadanju i usamljenosti u svetu koji se doživljava kao neprekidno stradanje, kao opasnost, strahovanje, kao traganje za bezbednim mestom za život, da bi se naposletku shvatilo da takvo mesto ne postoji, da su svuda samo jed i patnja. Likovi ovih romana žive u teškim ratnim okolnostima, ali oni nose još teže breme jevrejske sudbine, ili u svojim korenima jednako problematičnu podeljenost, podvojenost između hrišćanstva i judaizma. U oba slučaja, svesni su svoje izdvojenosti, obeleženosti poreklom koje svakoga časa može biti označeno kao nepoželjno za život u zajednici. Stoga, strepnja i teskoba stalni su pratioci njihovih sudbina. U skladu sa ovom postavkom, Tišma analizira različite oblike preživljavanja u ratnom i posleratnom dobu (od mirenja sa zlom, pasivnosti, trpljenja, poniženja, preko otpora, osvete, nasilja, sve do poražavajućeg saznanja da &bdquo;zlo rađa zlo&rdquo;) ukazujući na fenomene vremena u kojem živimo. Autor s gorčinom preispituje postojanje humanističkih principa u ovakvom svetu, kao i ulogu literature u čitavom procesu. Tragajući u svojim romanima, pre svega, za istinom u svim aspektima života, Tišma dolazi do saznanja da su nasilje i zlo neodvojivi deo čovekove prirode, i to saznanje nudi kao datost, kao nepomerivu&nbsp;činjenicu. Uloga književnosti jeste da razbija iluzije, da podseća na preživljeno, da svedoči o ratnim događajima u svetlu uverenja da ono što nije zapisano &ndash; ne postoji.</p> / <p>In the novels The Book of Blam and The Use of Man by Aleksandar Ti&scaron;ma dominant themes are war and the destiny of man in war, especially Jewish man. To talk about the novels of Aleksandar Ti&scaron;ma primarily means to talk about the quest for identity, about rootlessness and loneliness in a world that is perceived as constant suffering, as danger, fear and search for a safe place, only to realize that such a place does not exist, that there is only misery and suffering everywhere. The characters of these novels live in difficult war conditions, but they carry an even heavier burden of the Jewish fate, or they have in their roots an equally problematic split &ndash; a split between Christianity and Judaism. In both cases, they are aware of their isolation, of being stigmatized by their origin, which at any moment can be declared unsuitable for life in a community. Therefore, anxiety and uneasiness are constant companions of their fate. In accordance with this setting, Ti&scaron;ma analyzes different forms of survival in wartime and in post-war era (from conciliation with evil, inaction, suffering, humiliation, through resistance, revenge, violence, until the devastating knowledge that &ldquo;evil begets evil&rdquo;) thus indicating the phenomena of our time. The author bitterly re-examines the existence of humanistic principles in such a world, and the role of literature in the whole process. Searching in his novels primarily for truth in all aspects of life, Ti&scaron;ma comes to the conclusion that violence and crime are inseparable part of human nature, and he presents this insights as a given, as a fixed fact. The role of literature is to shatter illusions, to remind us of things we have been through, to testify about wars in the light of his belief that if things have not been written down it is as if they do not exist at all.</p>

L’étude se construit sur deux axes. Dans le premier, elle cherche à expliciter la fonction du lieu dans la séance photographique de mode, la manière dont la rêverie du photographe crée dans sa pensée un mannequin qui correspond à un espace ; ou bien, un endroit qui ressemble au modèle. Par une observation esthético compréhensive et une démarche phénoménologique, la recherche se concentre sur l’imaginaire de l’espace clôt dans l’image de mode, le logis, la maison, la chambre, etc. Tout en nous positionnant sous un angle holistique ; le concret avec le transcendant, le microcosme avec le macrocosme sont mis en relation. C’est alors que nous percevons la valeur du terroir et du territoire dans l’image de mode. Agissant comme un miroir reflétant le réel et notre société actuelle, la photo devient un monde en miniature. Après la rêverie de l’habitat, son image et son interrelation avec la personne, le réel et le groupe social, dans un deuxième axe, nous nous intéressons à la présence du modèle. La présentation du mannequin lors du casting s’appuie sur la sociologie interactionniste en observant les habitus du modèle, les comportements appris et répétés, ainsi que les imitations dans un contexte donné, dans une scène. C’est aussi la flexibilité du mannequin qui attire notre attention, son interaction avec le photographe, ainsi que le jeu devant la caméra. De plus, la représentation du modèle devant l’appareil puise sa source dans l’inconscient collectif et mythologique. En faisant une comparaison entre le jeu devant l’appareil technique et les théâtres archaïques et traditionnels, nous constatons que, dans le jeu du mannequin, il se manifeste des incarnations archétypales. Celles-ci se distinguent des habitus et des comportements appris, ainsi que des émotions. De même, l’influence du « bassin-sémantique » et la vitalité du mythologique, prennent lieu dans un espace-temps présent. C’est alors par la description qu’on aboutit à une explication ; il s’agit de procéder par la démarche comparative qui déplace le centre culturel et historique en l’alignant en parallèle avec d’autres systèmes. Cette démarche est donc concrètement plurilatérale. C’est ainsi que nous décryptons le retour, à notre époque, de l’archaïque, à la fois en observant le contenu de l’image photographique et la représentation du mannequin devant la caméra. Nous tissons donc, selon la méthode comparative weberienne et durandienne, des liens entre différents phénomènes n’ayant pas la même finalité, mais possédant la même forme. / With considering our observations in the field, there is a return of the archaic in the superficial aspects of existence as fashion photography. We noticed that on the one hand, models intended to look at fashion magazines and to reproduce the poses and attitudes of the current season, and doing so, they continued to represent socially the models attitude and confirm the position in a community. On the other hand, we noticed a similarity between fashion theatricality in front of the camera with traditional theatre which embodies archetypes. We noticed as well that printed fashion pictures aim to represent a cultural message belonging to our particular period and culture. But at the same time, they always transmit strong symbols and archetypes that are mythological. To interpret the symbols, we mainly used the work of Gilbert Durand. According to him, it is not society and culture that produce mythology, but mythology that creates ideology and artistic expressions. The work of Michel Maffesoli gives us as well an understanding of everyday life phenomena in post modernity.

Ce travail part du constat d’une crise persistante de l’institution scolaire française fondée sur le modèle républicain. Dès les années 1970, les sociologues « conflictualistes » ont disséqué et dénoncé les mécanismes qui font de l’école un facteur de reproduction des inégalités sociales. Au fil des gouvernements successifs ont été mises en œuvre de multiples politiques éducatives souvent au détriment de la cohérence et de l’efficacité. Les enjeux de la massification ont également pesé sur l’organisation et l’efficacité de l’école. De multiples indices révèlent une dégradation du climat scolaire ainsi qu’une baisse récurrente des performances scolaires des élèves, ainsi que le montrent notamment les enquêtes du Programme international pour le suivi des acquis des élèves (PISA). L’école française, formatée sur les valeurs de la modernité, apparaît aujourd’hui en rupture avec l’environnement sociétal et en perte d’efficacité.Il est proposé une analyse du phénomène à la lumière du paradigme de la postmodernité. L’institution scolaire fonctionne selon un système de valeurs hérité de l’époque moderne, caractérisée par la rationalité et la verticalité, l’individu étant supposé se conformer à un modèle. Ces valeurs, à l’image des institutions républicaines traditionnelles, apparaissent saturées et ne fonctionnent plus. Or, l’époque postmoderne se caractérise par l’émergence d’une topique de l’horizontalité, une nouvelle conception de l’altérité, une éthique de l’instant, une nouvelle conception de l’altérité. On observe également une résurgence d’archaïsmes et des valeurs du sensible. Cet ensemble de phénomènes, caractéristique des tendances à l’œuvre dans les sociétés postmodernes, opère une mutation des mentalités et des représentations, notamment chez les jeunes. En restant imperméable à ce nouvel environnement sociétal, l’institution scolaire républicaine est en discordance avec les individus qu’elle est en charge de former, et de ce fait, se disqualifie, devient inadaptée et « imperformante ».Une mutation pédagogique s’est amorcée au cours du 20ème siècle, grâce aux apports de la psychologie, et en premier lieu du constructivisme, dans le sens d’une meilleure mobilisation des fonctions psychologiques de l’individu en faveur de l’apprentissage. A partir des années 1960, l’évolution de la pédagogie a pu s’appuyer sur les travaux des psychologues humanistes qui ont amélioré la compréhension les mécanismes de la motivation et mis en évidence l’importance de concepts tels que l’estime de soi. Ces concepts ont contribué à une mutation pédagogique, qui s’est par ailleurs appuyée sur les recherches « processus-produits » ainsi que sur les pratiques réflexives d’enseignants. Cependant il apparaît manifestement que les apports de la psychologie et les résultats de ces recherches sont insuffisamment intégrés concrètement dans le processus éducatif en France.En tout état de cause, il demeure que la mutation pédagogique est inachevée tant que l’école ne se met pas au diapason de l’environnement sociétal. Selon le paradigme des théories de Jung appliquées à l’éducation, nous mettons l’accent sur le caractère archétypal de la relation enseignant-élève. Nous soulignons en outre des convergences avec les théories sur l’imaginaire. Nous entendons démontrer que la mise en œuvre appropriée d’une éducation « archétypale », tirant parti de la sensibilité, de l’intuition, de l’empathie et de la mise en résonance constitue un puissant vecteur d’éducation. La voie recherchée est celle de l’initiation de l’élève à la connaissance et à la valorisation de ses potentiels personnels. L’instauration d’une telle relation éducative repose actuellement sur une démarche individuelle de l’enseignant. Elle implique de ce dernier un travail préalable d’auto analyse. En conclusion, l’incorporation de ces concepts dans l’organisation de l’institution éducative... / This research starts from the observation of an ongoing crisis of French educational institution based on the republican model. By the 1970s, the "conflictualists" sociologists have studied and denounced the mechanisms that make the school a factor of the continuation of social inequality. Previous governments have implemented numerous educational policies often at the expense of consistency and efficiency. The challenges of dealing with a massive system and efficiency of the school. There are indications of deterioration in the school climate as well as recurrent lower academic performance of students, as shown by surveys such as Program for International Student Assessment (PISA). French schools based on modern values at odds with the social environment and loss of efficiency.We propose to conduct an analysis of the French schools in the light of the paradigm of postmodernity. French educational institution operates on a system of values inherited from the modern era, characterized by rationality and verticality, (i.e. transfer of knowledge from the top down) the individual is expected to conform to a model. These values, like traditional republican institutions are obsolete and no longer work. However, the postmodern era is characterized by the emergence of a topical horizontality (i.e. learning from your peers and your teacher), a new concept of interpersonal relationships and communication with each other. There is also a resurgence of archaic and sensitive values. These are phenomena characteristic of trends in postmodern societies, influencing attitudes and representations, particularly among young people. Remaining impervious to the new social environment, the Republican school institution is in discordance with the people in which is in charge of training, and thus, becomes inadequate and "unperformant."Pedagogical transformation began in the 20th century, thanks to the contributions of psychology, including constructivism in the sense of a better mobilization of psychological functions of the individual. From the 1960s, the evolution of pedagogy in theory relies on the work of humanist psychologists who have improved the understanding of the mechanisms of motivation and highlighted the importance of concepts such as self-esteem. These concepts have contributed to educational changes, which have supported research on "process-product" and the reflective practices of teachers. However, it clearly appears that the contributions of psychology and the results of these studies are insufficiently integrated practice in the educational process in France.The fact remains that educational change is incomplete as the school is not attuned to the social environment. The paradigm theories of Jung applied to education, focused on the archetypal nature of the teacher-student relationship. In addition, we further stress, convergence with theories of imagination. We intend to demonstrate that the proper implementation of an "archetypal" education, leveraging the sensitivity, intuition, empathy and the “resonance” is a powerful contributor to education. The goal is to seat the connection between student knowledge and enhancement of personal potential. The establishment of such an educational relationship is currently based on an individual approach of the teacher including their own self analysis in order to improve the transfer of knowledge.In conclusion, the incorporation of these concepts in the organization of the educational institution would require a thorough overhaul of the educational process, but also the recruitment and training of teachers.

Made available in DSpace on 2016-07-27T13:47:57Z (GMT). No. of bitstreams: 1 Elias Mayer Vergara.pdf: 1579647 bytes, checksum: f936462ff4df46e87fe2ac082592fe0e (MD5) Previous issue date: 2005-02-28 / Genesis 3 will be approached here as a Hebrew myth and will serve as a case study in which we seek to show that psychoanalysis offers a different view in the understanding of the polysemy that exists in myths. According to anthropology and psychology, myths carry the human archetypes. These are couched in symbolic language and open up the polysemy of the myths. In the myth of Genesis 3, sin and the fall are significants resultant from a monosemic hermeneutic that has dogmatically legitimated the existence of the priest and of the church. The symbolic element of the serpent representative of a divinity competes with the divinity Yahweh through a transgressive project which is victorious and liberates the human beings to go beyond the garden. It is outside of this logic that the first sexual relationship between Adam and Eve occurs. In this way they have the pleasure of completing each other and becoming creative Gods. In a new focus derived from a polissemic reading, Eve s transgression can supply the archetypal energy necessary for a prophetic vocation awakening the heroic self that exists in all mankind. It is in the interval between great powers that the human being exercises freedom and makes himself divine. / Gênesis 3 será tomado, aqui, como um mito hebraico que servirá para uma análise de caso, onde se busca comprovar que a psicanálise tem um olhar diferenciado para entender a polissemia existente nos mitos. Os mitos, segundo o que é aceito pela antropologia e psicologia, carregam consigo os arquétipos humanos, que, configurados por uma linguagem simbólica, abrem a sua polissemia. No mito de Gênesis 3, pecado e queda são significados resultantes de uma hermenêutica monossêmica, que tem legitimado dogmaticamente a existência do sacerdote e da Igreja que o sustenta. O elemento simbólico serpente , representativo de uma divindade, compete com a divindade Iahweh, através de um projeto transgressor, que, vitorioso, liberta os seres humanos para além do jardim. É fora desta lógica que ocorre a primeira relação sexual entre Adão e Eva, que assim degustam o prazer de se completarem, tornando-se assim também Deuses criadores. A transgressão, novo foco de sentido encontrado pela leitura polissêmica, pode fornecer a energia arquetípica necessária para a vocação profética, e para despertar o ser heróico que habita em todos os humanos. É no intervalo entre os grandes poderes que o ser humano exercita a liberdade e diviniza o seu ser.

Made available in DSpace on 2016-04-28T20:39:29Z (GMT). No. of bitstreams: 1 luisa.pdf: 419235 bytes, checksum: eafeb45127c76780927c176a14608150 (MD5) Previous issue date: 2007-05-11 / The aim of this dissertation is to analyze the symbolical trajectory of Buffy, the Vampire Slayer, a character created by Joss Whedon in the 1990s. The show which tells Buffy s story consists of 144 episodes, which where considered a ratings phenomenon in many countries. In order to reach this objective, all 144 episodes were watched and schematized in summaries, which made it possible to identify and discriminate significant events, images and sequences in the composition of Buffy and her journey. The themes that seemed to be relevant at this point were closely related to the hero s archetype, which is the motivator of the process of the development of consciousness. Therefore, the analysis is based on C. G. Jung s concepts of analytical psychology and on Joseph Campbell s study of the heroic cycle. Buffy is regarded as a contemporary image of the hero s archetype. Throughout her journey, she was faced with seven challenges of growing complexity, which called for deep transformation and encompassed the formation of the persona, the withdrawal of projections, and the process of making aspects of shadow and animus conscious and integrated. Her trajectory is crowned with the possibility of transforming herself as well as her surroundings. In the first six confrontations, Buffy finds a way to save the world, but in the last (the seventh), she transforms it. In addition, vampire symbolism, serial characters and aspects pertaining to mass culture are discussed and interrelated / Esta dissertação tem como objetivo a análise simbólica da trajetória de Buffy A Caça-Vampiros, personagem criada por Joss Whedon na década de 1990. O seriado que relata sua história é composto por 144 episódios, que foram considerados fenômeno de audiência em diversos países. Para a consecução desse objetivo, os 144 episódios foram assistidos e mapeados para a elaboração de sinopses, o que permitiu identificar e discriminar eventos, imagens e seqüências significativas na composição da personagem Buffy e sua jornada. A aproximação desse tema remete ao arquétipo do herói motivador do processo de desenvolvimento da consciência. A análise, portanto, está referenciada nos conceitos da psicologia analítica de C. G. Jung e no estudo do ciclo heróico desenvolvido por Joseph Campbell. Buffy é compreendida como uma imagem contemporânea do arquétipo do herói que, no decorrer de sua jornada, foi confrontada com sete desafios de complexidade crescente. Transformações intensas foram requisitadas e compreenderam a formação da persona, a retirada de projeções, a conscientização e integração de aspectos da sombra e do animus. A trajetória de Buffy é coroada com a possibilidade de transformação de si mesma e do meio que a circunda. Nos seis primeiros confrontos, Buffy encontra uma maneira de salvar o mundo, mas, no último, ela o transforma. Além disso, são discutidos o simbolismo do vampiro, as personagens seriadas e questões referentes à cultura de massa